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Always orcier "DE WITT'S" Acting Plays. 



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Is DE WITT'S ACTING PLAYS, <$£% 




(Number 396.) 



Mi WHITE. 



A DRAMA, 

IN THREE ACTS. 

BY WILKIE COLLINS AND CHARLES FECHTER. 



AS FIRST PERFORMED AT THE ADELPHI THEATRE, LONDON, 

UNDER THE MANAGEMENT OF BENJAMIN WEBSTER, 

ESQ., ON MONDAY, MARCH 29, 1869. 

TOGETHER WITH 

A description of the Costumes— Synopsis of the Piece— Cast ol the ( 
—Entrances and Exits— Relative Positions of the Performers i 
the Stage, and the whole of the Stage Business. 




£T t to - g a r k : 

DE WITT, PTJBLl! 

Ao. 33 Bote Str 




NOW 
READY. 



I 



W m A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACTING 
PLAYS, AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, containing 
Plots, Costume, Scenery, Timcof Representation, and every other informa- 
tion, mailed free and post-paid. _^" 



IDE "WITT'S 



ETHIOPIAN AND COMIC DRAMA. 



Nothing so thorough and complete in the way of Ethiopian and Comic Dramas ha 
bei u printed as those that appear in the following list. Not only are the plots excellent, the 
characters droll, the incidents funny, the language humorous, but all the situations, Joy-play, 
p..>.-.t;<>iis. jam miimic business, scenery, and tricks ara so plainly set down and clearly 
explained that the merest uoyice conld put any of them on the stage. Included in this 
Cal ' ogue are all the most laughable and effective pieces of their class ever produced. 

*** In ordering please copythe figures at the commencement of each piece, which 
indicate the number of the piece in " De Witt's Ethiopian' and Comic Dkama." 

fSkf Any of the following Plays sent, postage free, on receipt of price — Fifteen Cents 
each. 

jCQ= The figure following the name of the Play denotes the number of Acts. The 
figures in the columns indicate the number of characters — M. male; F. female. 



111. Absent Minded, Ethiopian farce. 1 

act 3 1 

73. African Box, burlesque, 2 scenes... 5 
107. Africauus Bluebeard, musical Ethi- 
opian burlesque, 1 scene f> 2 

113. Ambition, farce, 2 scenes 7 

133. Awful Plot (An) Ethiopian farce, la. 15 1 

43. Baby Elephant, sketch, 2 scenes 7 1 

42. Bad Whiskey, Irish sketch, 1 scene. 2 1 
79. Barney's Courtship, musical inter- 
lude, lact 1 2 

i 40. Big Mistake, sketch, 1 scene 4 

6. Black Chap from Whitechapel, Ne- 
gro piece 4 

10. Black Chemist, sketch, 1 scene 3 

11. Black-Ey'd William,sketcb.,2 scenes 4 1 
146. Black Forrest (The), Ethiopian farce, 

lact 2 1 

110. Black Magician (De), Ethiopian com- 
icality 4 2 

126. Black Statue (The). Negro farce 4 2 

127. Blinks and Jinks, Ethiopian sketch. 3 1 
123. Boboliuo, the Black Bandit, Ethio- 
pian musical farce, 1 act 2 1 

120. Body Suatchers (The), Negro sketch, 

2 scenes 3 1 

78. Bogus Indian, sketch, 4 scenes 5 2 

89. i; igus Talking Machine (The), farce, 

1 scene 4 

24. Bruised and Cure 1, sketch, 1 scene. 2 
103. Cuarge of the Hash Brigade, comic 

IrisL musical sketch 2 2 

14?. Christmas Eve in the South, Ethio- 
pian farce, 1 act 6 2 

35. Coal Heaver's Revenge, Negro sketch, 

1 scene 6 

112. Coming Man (The), Ethiopian sketch, 

2 scenes 3 1 

41, Cremation, sketch, 2 scenes 8 1 

Hi. Crowded Hotel (The), sketch. 1 SC. 4 1 

; 140. Cupid's Frolics, sketch, 1 scene 5 1 

I 12 Daguerreotypes, sketch. 1 scene .... 3 

53. Bambn and Pythias, burlesque, 2 sc. 5 1 
i 63, Darkey's Stratagem, sketch". 1 scene 3 1 
1 131. Darkey Sleep Walker (The), Ethio- 

; ; an sketch, 1 scene 3 1 



M. F. 

Deaf as a Post, Ethiopian sketch.. . . 2 
Deeds of Darkness, Ethiopian ex- 
travaganza, 1 act 6 1 

Desperate Situation (A), farce, 1 sc. 5 2 

Draft (The), sketch, 2 scenes 6 

Dutchman's Ghost, 1 scene 4 1 

Dutch Justice, laughable sketch. 

1 scene 11 

Editor's Troubles, farce, 1 scene.. . f> 

Eh ? What is it ? sketch 4 1 

Election Day. Ethiopian farce, 2 sc. 6 1 
Elopement (The), farce, 2 scenes... 4 1 

Excise Trials, sketch, 1 scene 10 1 

Fellow that Looks like Me, inter- 
lude, 1 scene 2 1 

First Night (The), Dutch farce, 1 act 4 2 
Fisherman's Luck, sketch, 1 scene. 2 
Fun iu a Cooper's Shop, Ethiopian 

sketch 6 

Gambrinus, King of Lager Beer, 

Ethiopian burlesque, 2 scenes. ... 8 1 
German Emigrant (The), sketch, lsc. 2 2 
Getting Square on the Call Boy, 

sketch, 1 scene 3 

Ghost (The). Sketch, lact 2 

Ghost iu a Pawn Shop, sketch, 1 sc. 4 

Glycerine Oil, sketch. 2 scenes 3 

Going for the Cup, interlude 4 

Good Night's Rest, sketch, 1 scene. 3 
Go and get Tight, Ethiopian sketch, 

1 scene -...• 6 

Gripsack, sketch, 1 scene 3 

Guide to the Stage, sketch 3 

Happy Couple. 1 scene. 2 1 

Happy Uncle Rufus, Ethiopian mu- 
sical sketch, 1 scene.. 1 1 

Hard Times, extravaganza. 1 scene. 5 1 
Helen's Funny Babies, burlesque. 

1 act .' 6 

Hemmed In. sketch 3 1 

High Jack, the Heeler, sketch, 1 sc. 6 

Hippotheatron, sketch 9 

How to Pay the Rent, farce, 1 scene 6 

In and Out. sketch. 1 scene 2 

Intelligence Office (The), Ethiopian 
sketch, 1 scene 2 1 



BLACK AND WHITE, 



% grama, 



IN THREE ACTS. 



Br WILKIE COLLINS and CHAELES FECHTER. 



AS FIRST PERFORMED AT THE ADELPHI THEATRE, LONDON, UNDER 

THE MANAGEMENT OF BENJAMIN WEBSTER, ESQ., 

ON MONDAY, MARCH 29, 1869. 



TO WHICH 13 ADDED 



A DESCRIPTION OF THE COSTUMES — CAST OF THE CHARACTERS EN- 
TRANCES AND EXITS RELATIVE POSITIONS OF THE PER- 
FORMERS ON THE STAOE, AND THE WHOLE 
OF THE STAGE BUSINESS. 



NEW YORK: 

ROBERT HI. DE WITT, PUBLISHER, 

No. 13 Frankfort Street. 



BLACK AKD WHITE. 



1^ 



irl'V- 



C4OT <«' CHARACTERS. 

Adelphi Tlie.aire, 
London, March 2U, 18G9. 

Count Maurice de Leyrac (Lead) Mr. Fechter. 

Stephen Westcraft (Heavy Character) Mr. AitiHun Stirling. 

David Michaelmas iLow Comedy or Old Man) Mr. Atkins. 

Plato (1st Low Comedy) Mr. Belmore. 

Provost Marshal (Utility) Mr. Stuart. 

Wolf (2d Heavy) Mr. Phillips. 

Slaves, Planters, Jailors, etc. 

Miss Milburn (Lead) Miss C. Leclercq. 

Mrs. Pentold (Walking Lady) Miss Lennox Obey. 

Kuth, a Quadroon (Character) .....Mrs. Leigh Murray. 

Slave Gills, etc. 



TIME OF PLAYING- TWO HOURS. 



SCENERY (Wed Indian, Winter.) 
ACT I.— Scene \st.— Boudoir, verandah, and landscape, in 4th grooves. Night: 



...O-.. 

Moon. 



Window. 



Landscape. 
Open. 



Window. 



Door. 



Sofa. 



Table and Chairs. 



Door. 



Landscape on flat, distant view of high mountains ; palmettos in middle distance ; 
cactus and other tropical plants in foreground. Moon, r. c, transparent, which is 
not to show when this scene is seen by sunlight effect, as Scene 1st, Act 2d. Tubs of 
orange trees along flat. The windows in 3d groove set are French windows reaching 
to the fsot of the flat, but are not used for entrance ways. The c. opening is large, 
width of a folding-doorway ; curtains of light stuff to all these. Light matting down 
on stage front of 3d grooves, d. l. a-nd d. r., practicable ; vases of flowers, l. and r. 
front; candelabra, with wax candles burning, against flat. Upper entrance is 
arched over by a cane verandah roof. Dressing table, with mirror, L. c; handle on it. 

Scene 2d. Forest in 1st grooves, dark. 



BLACK AND WHITE. 3 

Srene 3J. Hut interior and wood in 4th grooves. Night. Limelight for moonlight 
effect in l, u. uauer, in the flies, to east rays upon roof u. e. 



Wood. 



Wood. 



I ' oor. | 3 



Bed. 



: P 

- Table. 



StooL 



Door- 



Roof let down of rafters ; high up l. c, in flat, a large window, in ruins, 5 feet 
wide by 3 feet high, so as to discover Westciuft upon set roof on a level with its sill, 
A., in n. e. 

ACT II.- Scene 1st. Same as Scene 1st, Act 1st, sunlight effect 

Scene 2d. Plain interior, open l. and r. e., in 1st grooves. 

Scene. 3d. Market-place in 5th grooves. Blight sunlight effect 

S 

; Landscape. ; 

! b d[ = ]d i 

■ CZ3 "~c : < 



[) 



— 3 

Pract. Door.^ 



Landscape on flat. Bright sky, horizon of mountains ; trees in foreground, with 
sugar-mill roofs, and bell-tower of planter's house. Trees for wings : sky sinks and 
borders. R. side : B, a profile set, representing a market cart, tilted down on the 
shafts, loaded with melons and yams, blending in with r. lower corner of flat, painted 
with clump of plants A, a vegetable stall, with awning, with melons and other 
fruit, i>. side. 1st e., open ; 2d e., set house, with pract., d., window above with 
striped awning ; 3d g., set of wall of house ; 3d e., stall of fruit and vegetables ; C, 
profile set of rocks run on to mask side of steps,D . leading l. c. to c. 



BLACK AND WHITE. 

ACT III. — Interior in 3d grooves. 
Window. I 



Cabinet. Bed. 



G ~~ 

Doo 




Backing to window in f., bright sky. The room is in a very dingy condition ; 
cobwebs and stains on the walls; window-sash opens up; outside shutters open ; 
curtains are full of holes ; bed curtains are partly fallen from the canopy frame ; the 
wall papering has a pattern of large rosettes at equal distances, so that on the l. side 
of window, the rows may allow of eight of these roses between it and l. set, and 
three roses from the set ceiling ; door h. i. e. is not to open, but is ruined so that the 
lights there show through it; small square of carpet down ; the cabinet up it. open 
one door, with books tumbled out in disorder; waste-paper basket r. i. e., upset, 
with papers partly out; a table »., with drawer partly open; u. e. by window ar- 
ranged with open trap, soas to give the idea of stage level being of a room in the 
first lioor over the ground floor ; steps without for the window to be climbed into; 
small trap in flat, e. c, high up, to be reached by standing on bed. 

Scent 2d. Prison interior in 1st grooves. Cane walls like those of a calaboose; 
shackles and chains painted on wall ; open l. and a., or with transverse set with 
door to open l. and r. ; keyhole to L. D. 

Sane 3d. Same as Scene 3d, Act IL 



COSTUMES. 



Note.— The action is about 1830, but the eostumer of the Adelphi chose to habit 
the characters in dresses of the present day. His dresses, according to that course 
are therefore described. The Octoroon costumes will suit very well. 
Letrac— Act I. : Evening dress, note book. Act 11.: Cane, white hat. Act 111. : 

Walking dress. Scene 2d, Act 111. : Handsome suit. 
WESTCRAFT.-Panama bat with black ribbon round it, white shirt, loose cravat in 
sailor fashion, white linen jacket and pants, eanvas shoes, carries a bowie within 
his jacket collar behind right shoulder ; may smoke cigarette throughout ; face a 
little browned, black moustache, crescent-shaped, points downward black 
short-crop wig, or short curl, heavy eyebrows , passionate disposition and quick 
with his hands ; sharp, quick speech. 

MiCHAEEMAS.-Black hat, dark brown coat, fancy flowered vest, gray pants. 

PLA ™;7 I L egr ° : ^ hair .^y eyebrows, tall white beaver hat with loose crown 
half off, ragged brim, hickory shirt, blue trousers coming down to mid-leg, 
black leggings, striped socks, cowhide shoes, long white swallow-tail coat of linen 
with buttons of different sorts and colors, pockets, very deep, in the tails. He b 
very polite, fond of bowing. 



black: and white. 5 

Wolf. — Negro; striped bandanna twisted round his head; savage look, moustache 
and short beard ; light suit. 

Provost-Marshal. — Blue coat of light stuff, straw hat, light pants. 

Planters. — Like Marshal and Westcraft. L>ark complexions. 

Guests.— Evening dress, European, and like Westcraft. 

Secretary to Plato.— Negro. Btnped shirt, light trousers, ragged wide-brim 
straw hat. Carries large book and pencil. 

Negroes.— Straw hats of all sorts, fancy striped calicoes, bright-colored handker- 
chiefs. 

Servant.— Act I. : Livery, white coat. 

Miss Milburn.— Act 1., Scene 1st : Satin ball dress, with train to be quickly 
detached, and leave the dress for walking, light mantle for her, ready r. d., jew- 
elry. Scene 2d : Same dress, mantle worn. Act II., Scene 1st : House dress, 
white muslin with a few knots of ribbon. Scene 3d : White walking dress, fancy 
Leghorn hat with streamers. Act HI, Scene 2d : White straw hat, blue dress. 
Scene 3d : White wedding-dress, Leghorn hat, trimmed with orange-flowers and 
white lace. 

Mrs. Penfold. -Act I. : Handsome ball-dress, jewelry, fan. Acts II. and III. ; May 
come on to form picture ; white muslin walking dress, parasol, straw hat. (Dress 
of Dora Sunnyside, in " Octoroon,'" will answer.) 

Ruth.— Yellow face, hair in curls, fancy striped dress. Scene 2d : Hair loose face 
pale. 

Planters' Wives, etc.— Act I. : Ball dresses. Act II. : Like Mrs. Penfold's second 

dress, parasols. 

Slave Women.— Fancy handkerchiefs, calico skirts. 

Children.— For the Planters' sons and daughters, and for young slaves, in dresses 
. to suit their characters. - . 



PROPERTIES (See Scenery.) 
ACT I., Scene 1st.— Candles in stands; flower vases, tubs for orange-trees • icecreams 
in cups, on salver, wine glasses and decanter, on table l. ; spring bell. Scene 
2d: Books and pencil for Secretary ; cards for Plato. Scene 3d: Bed, table, 
candle in candlestick, bottle of medicine, pocket-book, paper in it. Act II., Scene 
1st: Same set as Scene 1st. Act I. : Cane for Leyrac. Scene 3d : Vegetables, 
flowers, fruit, for stalls and baskets carried by Negroes. Act Til. : Loose pa- 
pers, books ; cabinet, bed, chairs; carpenters' three-foot rule ; table up l. ; let- 
ter at end of string in small trap, L. c. in F. Scene 2d : Key for jailor ; paper for 
Marshal. Scene 3d : Same set as Scene 3d, Act II. : Rattans for some of the 
Planters to carry ; paper for Westckaft ; letter for David. 



(.POT? SYNOPSIS, See Page 34.) 



BLACK AND WHITE. 



EXPLANATION OF THE STAGE DIRECTIONS. 
The Actor is supposed to face the Audience. 

D. B. C. C. D. D. L. C. 



/ 



SCENE. 



B. 3K 
8.2 b. 

,,/ 
/ 



\ 



7 



\ 



\ 



\ 



L.U 



c 


"~ 


L. O. li 


AUDIENCE. 






c. 


Centre. 




B. 


Right, 




B. 1 E. 


Eight First Entrance. 




B. 2 E. 


Eight Second Entrance. 




B. 3 E. 


Eight Third Entrance. 




B. U. E. 


Eight Upper Entrance, 


) 


P. B. C. 


Door Eight Centre. 



L. Left. 

l. a. _ Left Centre. 

l. 1 e. Left First Entrance. 

l. 2 e. Left Second Entrance. 

l. 3 e. Left Third Entrance. 

Zi. u. E. Left Upper Entrance 

(wherever this Scene may be.) 

». h. c. Door Left Centre. . 



BLACK AND WHITE. 



ACT I. 

SCENK I. — Boudoir interior, verandah and landscape in 4th grooves. 
Moon in flat, r. c. Night effect. Lights in candelabra on stage. Music 
of waltz. 

Curtain rises. Discovers Dancers in tr. E., promenading r. and L. Mrs. 
Penfold, r. c, at ranging her bracelets. 

Enter, l. u. E , looking about him eagerly, Stephen Westcraft. 

Westcraft {comes on by c. D., and down a). Not here either? (to 
Mus. Penfold) Have you seen Miss Milbarn? 

Mrs. Penfold. No. (cease music.) 

West. She is engaged to me for tiie next dance, and I can't find her 
anywhere. I can't understand the lady of the house neglecting her 
guests in this way. 

Mrs. P. Slie has been in the ball-room, hasn't she ? 

West. Yes, but not, to stay long. Hang me if tilings will go smoothly 
if slie displays as much reluctance to giving me her hand iu marriage as 
she does for a dance with me. 

Mrs. P. Pshaw ! You are looking at it too seriously, Mr. Westcraft. 

West. No! I have seen something very curious in her conduct to 
uie lately. 

Mrs. P. (aside). Oh! he has noticed that, has he 1 More penetration 
iu him than I save him ere lit for ! 

West. She has never been the sani3 woman since her voyage to France. 
Hang me if 1 don't b?gin to think that there is another man at the bot- 
tom of it. (strikes table, l. c, with his hand passionately. Music, bass chord, 
piano. ) 

Mrs. P. (starts). Ah! (carelessly) Do you think so? (watches West- 
craft closely.) 

West. Yes. Well, I won't judge in a hurry. 1*11 look again, (saun- 
ters off l. U- E.) [Promenaders exeunt slowly, L. u E 

Mrs. P. (aside). He evidently snspects something, and cannot be de- 
ceived much longer. Poor Emily ! I can't understand her. What can 
l>3 the reason for her strange conduct? {music for Miss Milburn's en- 
trance. 

Enter, r. d , Miss Milborn, with an absent, weary air. 

Mrs. P. (lightly.) Oh, here you are come back? The voluntary 
eclipse of the star has been missed already. 

Miss M. You are not dancing, dear ? I really don't know what to 
do with myself, (takes seat, r. c, languidly.) I think I need rest, (rises) 
Soo.l-night. (going to r. d ) 



5 BLACK AND WHITE. 

Mrs. r. (s/ops her'). What nonsense ! Go and hide yourself in slumber 
on your birthday fete ? 

Miss M. Don't speak to me of my birthday fete ! I wish I had never 
had one. {seated r. c.) 

Mrs. P. And then you are engaged to Mr. Westcraft. He has been 
looking for you everywhere, (c.) 

Miss M. Mr. Westcraft! (contemp'uously ) Will you please see if 
there are any ices there? (Mrs P. /muds her an ice from l. c table) Let 
me have some. Thanks, (scarcely tastes it, puts it down wearily.) I — 1 
think 1 had better retire. 

Mrs. P. Don't think of it. 

Miss M. Why should I not stop away ? 

Mrs. P. Oh ! it would look so bad> How could you? 

Miss M. What if I had a reason? 

Mrs. P. Oli ! is it a good one] 

Miss M. 1 don't know, (abruptly) Oh ! I am so unhappy ! 

Mrs. P. You unhappy, dear? 

Miss M. I have a great mind to tell you. (Mrs. P. approaches Mis9 
M. affectionately) I wish to return to Europe. 

Mrs. P. Ah ! Is London so tempting a place ? 

Miss M. Loudon? London is a dreadful smoky, great, busy, slow- 
going place, where every good tiling comes from abroad, even to the 
money. But Paris is the refuge for the dull and weary, who have the 
minds to appreciate it. It's the gayest city in the world ! 1 don't regret 
London, but I have never been at peace since 1 have seen Paris^. 

Mrs. P. Ah, 1 thought your unrest sprang from something like this. 
I saw you were sighing for something. 

Miss M. It is a most charming place! 

Erder, R. u. E. and by c. r>. f., TluTn, with bunch ofjhwers. Drops on one 
knee and off ei$ flowers to .Miss Milbdrn.* 

Miss M. Ruth ! (takes flowers.) Why, you ought not to be here. 
Thank you. You rue not strong enough to he out Do go in, do go in. 

It l* in. 1 only wanted to see you and bring you these, with my sincere 
wishes for your happiness on your birthday. 

Miss M. My happiness ! {bitterly, almost in tears) I can't bear it! I'll 
go away — I am only plagued more and more, (kindly) But don't you 
be pained — it is not your fault, Until ! 

ltuTii. I did not mean to grieve you, miss. (Icistes Miss Milburn's/^W, 
and exits n. F. and off R. U. E.) 

Miss M. Poor old Ruth ! poor girl ! I was speaking to the doctor 
about her — he says she is dying of a heart broken, nothing else. Even 
a slave can love (siyhs) Ah ! 

Mrs. P. But you have not told me what ails your heart. And how 
are the men there ? 

Miss M. The men ? 

Mrs. P. The men. I suppose they do have gentlemen in Paris? 

Miss M. I hardly know. They were much about the same as anywhere 
else. There was only one, indeed, whom I met more frequently than the 
others in society. 

Mrs. I'. Ah ! Mr. Westcraft was not altogether wrong, in fearing the 
influence of the French eentVmen. 

Miss M. Mr. Westcraft ! If he does me the discredit of suspecting me 

*Miss MiLBtjRN. Ruth. Mits. Pen-fold. 



ACT I. 9 

before marriage, he will do well not to have niy hand at all. I can easily 
refuse him. 

Mrs. P. Then you do love a French gentleman 1 Poor heart! Come, 
what was the French gentleman like 1 

Miss M. You wouldn't like me to let you suppose T accepted him as a 
suitor 1 Pshaw! he was of high rank, fashionable, moving in the same 
society as myself, and so we danced together, and we saw each other. I 
met him everywhere — it was Fate ! it was Fate that biought us together ! 
No one can resist his fate ! It was certainly strange. It was not my 
fault! How you look at me! (Mfs. P smiles) Don't you understand 
me 1 (rises) I wish I was fiend ! (sadly) Do you understand that 1 (to 
L. and return to c. with emotion.) 

Mrs. P. (n. c. up, quietly smiling to herself). So you completely forgot 
Mr. Westcraft? 

Miss M. Who said so 1 Have I ever loved Mr. Westcraft? 

Mrs. P. I don't know. On what terms did you part with the French 
gentleman? 

Miss M. (affectedly light tone). As the best friends in the world. But I 
remembered Mr. Westcraft. On the eve of my deparluie. my new ac- 
quaintance wished to know how he might renew the pleasure I had given 
him. (r. c.,Mks. Penfold to c.) I had to tell him that 1 was going hack 
to the Island of Trinidad, where he would have lo come for it. " When 
shall I come?" asked he, in the most matter-of-fact of tones. "Oh. you 
may come to my birthday fete, on my plantation, on New Year's Day," 
said I. (pretended crdess tone) He took out his pocket-hook, and wrote 
that down as business-like as possible— and — (embarassed) we shook 
nands, and he smiled, and I laughed, and there's an end on't ! (faint 
forced laugh ) 

Enter, L. C. E., frowning with annoyance, Westcraft to c. 

West, (aside, coming down c.). She is not in the ball-room. I'll swear 
to that, (aloud) Oh, there you are ! This is a pretty way of treating the 
man with whom you are engaged for the next dance! 

Miss M. I am not well. 

West. Not well ? Plaguey awkward, when they're forming for the 
next dance, (bites his lips, etc., in suspicious impatience.)* 

Miss M. 1 must retire for repose. 

Mrs. P. I'll go with you, dear, (aside to Miss M.) I have not heard 
all the story. (Miss Milburn rings bell on table, l. c, and goes towards h. 
d., followed by Mr°. PENFOLD.f 

Miss M. (aside to Mrs. P.). Not now. (Girl opens l. d.) 

Mrs. P. At least, what is his name 1 (Miss Milbdrn turns to whisper 
lo her.) 

Servant enters, i. u. e. lo n. f. 

Servant. The Count de Leyrac ! (Miss Milbdrn starts and turns. 
Chord.) 

Enter, l. u. e. to c, Maurice pe Letrac. Leyrac solutes the Ladies 
and comes down a little, c. 2lusie of Waltz, piano. Exit GiRL, L. D.\ 

* Miss Milburn. Mrs. Penfold. Westcraft. 

t "Westcraft. Mrs. Tenfold. Miss Milburn. 

c. l. c. L. 

J "Westcraft. Leyrac. Mrs. Penfold. Miss Milburn. 



10 BLACK AND WHITE. 

Ley. Eh ! I have not made any mistake ? Tins is New Year's Day, 
1830. This is the Island of Triniuad. This is Miss Milburn's birth-day 
part}', {recognizes Miss Milburn, salutes her profoundly respectfully) Ex- 
cuse me, but surely you have not forgotten the appointment you did me 
the honor of making. (Miss Milboun takes his hand.)* 

[Exit Servant, l. o. e. 

Let. I beg to apologize if my costume is not quite correct, but the 
ship entered the harbor only an hour ago. (cease music.) 

Miss M. I beg to apologize, you so surprised me. 1 did not ho — hope 
— believe you were in earnest. 

Ley. Never more so in all my life ! 

West, (to Miss Milboux). Who is this 1 

Ley. (turns and eyes Westcuaft steadily. They look at each other). 
Ah! a member of the family, no doubt? (Miss Milboun whispers 
With Mus. Penfold animatedly, both glancing at Leyrac) Most happy to 
know you, sir. Would you like to shake hands with me 1 (Westcuaft 
tomes "to his left during this, to place himself between Leyuac and Miss 
Milboun) You are her brother ? No 1 Her uncle, of course ! 

West, (cutlg) No! nothing of the sort. (Mas. Penfold laughs 
faintly, and Westouaft gives her an angry look.) 

Lev. How stupid of nn! Her cousin' (Westcuyft raises his hand 
passionately t) strike: Leyrac, who grasps it, and forces him to shike hands 
ivi/h him) Delighted to males your acquaintance. Ah I it has been the 
one dreimof my life to look up >:i your superb island. I know all 
about it, as far as reading will teach. Your productions are as numer- 
ous as valuable; ind go, liquorice, sugar, cotton, cochineal, dyestnffis, 
oranges, limes, cocoa, pineapples, and I krt »\v not what else. I shall be 
most happy to be your guest, (to Miss Milbvun) I like your island, I 
like your cousin ! I like his rich-brown lacj. I feel assured that I shall 
be delighted here, with such a pilot (to Westcuaft, bowing) to the 
countless beauties. 

West. 1 do -not doubt yonr assurance, Mr. Frenchman, but I do doubt 
th it you will see much of this islan 1 if I am to show it you. 

Lev. (fiercely.) Ah! (pili'ely). 1 am very sorry to hear of such a loss 
of anticipated pleasure 

West, (contemptuously). All very well, but fine words butter no par- 
snips, (turns to go up u ) 

Ley. (puzzled). Fine words butter no parsnips "? Oh ! more produc- 
tions of this superb island! Fine words — butter — parsnips! Indigo, 
liquorice, sugar, cotton, cochineal, dye-stuffs, oranges, limes, cocoa, pine- 
apples, line words, butter, parsnips, (laughs.) 

Mus P. and Miss M. (laugh at Westcuaft). Ha. ha, ha ! 

Ley. Why this is the earthly paradise ! (hows to Mus. P. and Miss M., 
who take seats, l. c.) and you the angels that inhabit it. (ladies return the 
salute, smiling). 

Enter, h. o. e. to c, Lady. 

Lady (to Westcuaft). Are you coming? (Leyuac bends over back of 
Miss Milboun' s chair, to chat with her.)-\ 

West, (to Lady). Wait a moment, (to Leyuac) If you have got 
anything to say to Miss Milburn, don't whisper to her, but speak out. 

Ley. Speak out 1 As you do 1 

•Westcraft. Leyrac. Miss Milburn. Mrs. Penfold. 

R. C. C. L. 0. 

1 Lady, up o. Leyrac. Mrs. Tenfold. 

WestCraft. Miss Milburn. 






ACT I. n 

West. Yes! 

Ley. A thousand thanks, but I prefer to whisper! (turns his back on 
Westcraft, and continues to speak with Miss M.) 

West. (goes up c. passionately). Here, Wolf! (enter, R. u. E. to c, 
Wolf) The carriage at once. 

Ley. (to Miss M.). I regret I did not arrive earlier. 

Promcnadvrs enter, h- u. e., to exit r. u. e. 

Ley. But many thanks for the pleasant evening you have afforded me. 
(Mrs. Penfold kisses Miss M. and exits r. v. e. on arm of Gentleman. 
Lady takes Westcraft s arm, but he pauses, looking over his shoulder at 
Leyrac.) 

Miss. M. (to Leyrac, aside). Do not you go yet. I want to speak 
with you. I shall be back directly, [Exit, r. d. 

West, (fiercely). Come along, Wolf 1 

[Exit, r. u. e., with Lady on his arm. and Wolf following. 

Ley. (loolmg after Miss M.). Certainly, (lights down, n.andL- u. e's. 
Leyrac alone). She says I am not yet to bid her good night. Ma foil 
Miss Milburn must understand well why I am here. 

Entci; r. d., Miss Milbcrn. 

Ah ! Miss Milburn, confess ! you were not iu earnest when you gave 
me the invitation to your birthday party 1 ! 

Miss M. (laughingly). And you were not in earnest either, when you 
accepted it. For you to come all Jhe way from Patis on my account, 
across I don't know how many oceans! Oh, how very absurd! 

Ley. The height of absurdity I admit. 

Miss M. You like to travel. You were in these seas, and you took 
the bold part of coming here, on the chance of seeing me again. I sup- 
posed you had quite forgotten me. 

Ley. Forgotien you! You are right. This is not the action of the 
most part of men— but then, you are not like the most of women. But 
I travelled only to reach here. You begin to perceive. Why do you turn 
away ? Yes. I have come all the way from Paris, I have crossed I don't 
know how many oceans ! for you ! And do I not deserve one look 1 (takes 
her hand) Ah ! (about to draw" her to him.) 

Enter, r. u. e. to c, David Michaelmas. 

David. Hem! I beg your pardon, sir. (t keg start and retire from one 
another, confusedly.) 

Miss M. Oh ! is not that the old servant you had with you when in 
Paris 1 

Ley. Yes. (r. c.) 

Miss M. David? Is not that the name? (offers her hand to David) 
You rendered me many services when I was in Europe. I am happy to 
welcome you in Trinidad ? I suppose you are quite a stranger here ? 

David. Oh ! thank you, not exactly. This is the second time I have 
been here. 

Miss M. Oh ! What brought you ? 

David. Well, my plantation brought me here this time, though it sent 
me away before, (to Leyrac) A word with you, sir. 

Ley. (smiling). Have you never heard of the name of Michaelmas, Miss 
Milburn ? 

David. That's my second name, 



12 BLACK AND WHITE. 

Miss M. I was not aware in Europe that I had the favor of being 
waited on by the owner of the Michaelmas estate. 

Ley. I never knew of it myself until just before starting to come to 
Trinidad, and asking David if he had no objections to accompany me, 
he told me that lie already had a local habitation and a name on the 
island. 

David. Not much to my credit, sir. It was very unexpected that I 
came into the property. I was very young, and my agents cheated me. 
I realized all the money on it that I could by mortgages, and went 
abroad, where I lost every penny of it in speculation, and have been a 
happier man for it ever since. 

Miss M. D is going to be disposed of by auction. 

David. And so my presence is needed to sign some papers of the 
mortgages, (to Leykac) Only a word, sir. 

Ley. What do you want 1 (r. c. with David, Miss M. l.) 

David. It's a woman, sir. 

Ley. A woman ! 

David. And something unusual in your case, sir ; it's an old woman ! 
one of what they call quadroons in these parts, wishes to see you. 

Ley. See me ! Oh, it's seme mistake, (lightly) Pooh! 

David. It's no mistake, sir. She says yon are in danger on this 
island. There is something in it, sir. (music, bass, tremolo) Best to see 
what it means. 

Ley- Well, wait for me in the shrubbery, and I will come to you. 
(David boirs to him nut to Mips Milburn, and exit r. u. e., by d. f.) 
Singular ! (to c, aloud to Miss Milburn) But the lights are put out and 
your guests have all gone. 

Miss M. And you would be going, too? (aside) He said it Mas the 
first time in his life that he had heen on this island, and yet a woman 
already makes an appointment with him. (aloud) Of course I may ex- 
pect to see you to-morrow 1 

Ley. To-morrow. (going iip c, gets his hat) An revoir! 

[Exit, d. f. and it. u. e. 

Miss M. (aside, coming down c). I heard his man say '• a woman." He 
has gone to meet her. If I follow close — (rings bell on l. table.) 

Girl enters, r. d. 

My cloak ! 

Girl. Goin' out, missee 1 

Miss M. My cloak, I say ! (exit Girl, r. d.) I will be there, tool 

Enter Girl uith light mantle, r. d. 
Phoebe ! 

Girl. Yes, missee ! 
Miss M. Sit up for me ! 

[Exit Girl. r. d. Exit Miss M., d. f. and l. v. e. 

Enter, r. u. e. to c, "Westckaft. 

West, (holing -l. v. e.). Going out alone, and at this hour? By 
heaven ! that Frenchman is at the bottom of all this ! They'll find one 
more than they expected at their meeting-place, be it where they may. 
(feels that his knife is ready within his coat at his right shoulder behind, and 
exits L. u. E., stealthi y.) 

Scene closes in. 



13 



SCENE II. — Forest in 1st grooves. Gas down. 
Enter, l. to c, David. Enter, l. to l. c, Plato. 

Plato. Well, sah, you all alone 1 de Count not come ? 

David. He will not be long. We will wait for him here, if you please. 

Plato. I consider 'urn a pleasure to wait any wliar wid you, sail. 

David. Indeed ! May I have the honor to know whom I am address- 
ing ? 

Plato. I present my compliments and beg to present my card, sab. 
( gives curd. ) 

David. Ah ! 

Enter, l. v. e., Secretary, sleepily. 

Plato. And allow me to present my secretary. (Secretary goes r. 
of David at c. ) 

David {reads card). Mr. Plato. 

Plato. Dai's me, salt. 

David. Then allow me to congratulate you on your name. 

Plato (bows). It's 'nm pretty good name, sab. 

David (reads card, given //>/ Secretary). Mr. Horace, Mr. Washing- 
ton, Mr. Spenser, Mr. Shakspeare. Mr. Milton. (Secretary sits r. c, 
and prepares to go to sleep) All black, sir ? 

Plato. All brack men, sah. 

David. Ah ! They were all white the last time I heard of them. 
Might I ask you how you came by the names of Shakspeare and Milton, 
an 1 so forth I 

Plato. We took 'urn. sah. Saving your presence, sah. we don't see 
why de dam white man should hab all de good n imes to hisself, sah. 

David. That's a quite unanswerable reason, Mr. Plato. 

Plato. I t'ank you, sah. (Secretary goes to sleep) I iespect you, sah ! 
Yon am de white man dat we men ob color links de highest most ob en 
dis island. 

David. Thanks. Perhaps yon can (ell me why I deserve such a com- 
pliment. All I ever did was to run away from my plantation, which has 
returned the compliment by running away from me. It's going to be 
sold for the benefit of the mortgage >s. 

Plato. Answer me, sah. Did you eber try to teach de niggahs on you' 
plantatium anyt'ingl 

David. Never. 

Plato. Berry well. Did you ever as 'urn to do any work onless dey 
agreed to it demselves. 

David. Never. 

Plato. Den, dar you hab it. You left de brains ob de nigger sleep 
in him 'kull; you left de ban's ob de nigger sleep in him pocket. God 
Iiivnss you ! you good man ! I offer you my hand. (David, stepping aside, 
>u nig stumbles over Secretary ) 

David. Then I say, may ignorance flourish, an 1 i Ueness be the best 
employment of human science. May I inquire if it was my words or 
yours that sent this worthy fellow ofi to sleep, (touches Secretary with 
his foot. Secretary snores ) 

Plato. My secrumtary, sah ! he am waiting for my orders before lie 
go to bed. I am oberwhelmed wid de brack business ob dis island. 
Oh ! de dam white man will not hab his own way much longer. 

David. Looking at it from the b'ackest point of view, I am very glad 
to hear it ! 



14 BLACK AND WHITE. 

Plato. Tank you, sah ! We Lab two great political parties on dis 
island. 

David. So liave we at home. 

Plato. 1 am sorry to hear it, sah ! Dar's de Conserbative Bracks an' 
de Liberal Bracks. 

David. Strange coincidence ! we have the Conservative Whites and 
the Liberal Whites. May I inquire how tlie.se political parties differ? 

Plato. We hab all on'y de one design in view — dat is de sacred 
cause ob Fieedom ! but we hab two ways ob gettin' it. De Liberal idea 
am to git up early one fine niornin' an' kill all de white folks on de 
island. 

David. A trulyliberal programme. Butone can understand it, anyhow! 

Plato. De Conserbative idea am 

David. Stop a minute. May I inquire — are you a Conservative? 

Plato ( proudly). I am de Conserbative chief, sah ! 

David. Speaking as a whit- man, 1 am delighted to hear it! 

Plato. De Conserbative plan is not so bloodthirsty, dough it am much 
more slow. We found a club, sah .' an' little by little we git all de black 
men on de island to join il, an' den, when all are in it, we demand de 
white fokes to quit. 

David. A charming prospect. As one of the white men, I shall bo 
glad (o leave at once. What is the name of the organization. 

Plato. De club am to be formed to-morrow night, and we propose to 
call 'urn de Tliickskull Club. 

David. The Tliickskull Club 7 Why, even your most bitter enemies 
could not have hit upon a fitter name. 

1'lato. Wait a lilly bit, sah ! Dar's a reason for dat name. Answer 
me dis hyar 1 What am de most honorable part of de man's body ? Why 
him head ! Darfore de ticker him head, de more he hab ob de honorable 
part! See, sah? Dar you hab him ! 

David. A very neat way of putting it, indeed. But a club to be con- 
stituted like this will be many months in progress. 

Plato. De longer time, sah, dat de officers ob de club will be enjoy- 
in' deir salaries, sah ! 

David. Hum ! I see! 

Plato. Mr. Secretary! Mr. Secretary! Mr. M : chaelmas,I present my 
compliments, an' would you please to kick de secretary 1 

David (touches Secretary, who sits up). I present my compliments, 
Mr. Plato, and begs you not to mention it. 

Plato. Mr. Secretary, you have written down de performances for 
to-morrow night. In de fust place — de band ob music — dat is to say, 
two fifes an' a drum. 

Sec. (refers to book). Yes, massa. 

Plato. De banner wid de crest ob de club — a thick skull, wid de 
motto ob de club : " Dam all white men, an' down with labor !" 

Sec. (rises'). Yes, massa. 

Plato. De refresherments for de six committee-men of the club — dat 
is to say, six bottles of rum punch, (smacks his lips) an' six corkscrews, 
an' six glasses, to be carried by de committee-men demselves, two by 
two, one abreast? An' six chairs for the committee-men, to be carried 
by de grateful public. Hab you got dem all down ] 

Sec. Yes, massa. (turns the book upside down, to write in it.) 

Plato. Den, Missa Secrumlary, you can go to bed. 

Sec T'ank you, massa. (to 7>avid) Your sarvint, sah ! [Exit. l. 

Plato. Mr. Michaelmas, I would like to ax you to witness de founda- 
tion of de club, but dough you are de model white man ob dis island, 
you arc a white man, an' dat am a fatal objection. 



ACT I. 15 

David. Don't mention it. Besides, there might be one of the Liberals 
in the meeting, and the sisht of me might lead to an objection even 
more fatal than that you allude to. 

( Voice of Leyrac, off l.). David ! Michaelmas ! 

David. This way, sir ! tins way ! 

Enter, Leyrac, l.* 

Ley. Is she here -. 

David. No, sir. She lives in a hut not far. 

Plato (bowing, hat in hand). On'y a lilly bit of way, sir. 

Ley. Who is that man 1 

David. I present to you the Conservative chief, Mr. Plato ! (aside to 
Leyrac) They have Mr. Milton and Shakspeare here, and all the great 
men. 

Ley. Ha, ha ! 

David. He has come to" show you the way to the house. 

Plato. Do you present your compliments, sal), and request me to 
iead de way. 

Ley (lifting his hat). With a thousand apologies for causing you the 
trouble. 

Plato. AVitli two thousand thanks for have the honor of giving you 
so much trouble, (aside, hat on) No dam white man is gwine to be more 
polite dan me on dis island, (r.) 

Ley. What's her name ? 

David. Ruth, the quadroon. (Leyrac shakes his head.) 

Ley. You have seen her — do you know her ? 

David. A perfect stranger. 

Ley. She must be mad, or it's a mistake. 

David. No mistake, sir, 1 can assure you. She knew all about you, 
clearly enough. 

Ley. I will see her. 

David. Shall I go with you ? 

Ley. You might see me to the place, and then go back to the hotel 
to wait for me. [Exit, v.. 

David (to Plato). Come along, Mr. Plato ! 
[Exeunt Plato and David r. Music, tremolo. Gas down a little more. 

Enter, L., WestcrAFT, crossing to R. ; pauses R., looking off r., and then 
exits R., as if following some one. 

Scene changes to 

SCENE IIT. — Hut interior in 4th grooves. Light on table, R. Gas down 
three-quarters turn, Gas up in h. V. e., and lime-light effect l. u. e. 
comer, in the files. 

Discover Ruth on couch up R. c, and Girl r. by table. 

Ruth. Time passes, and still he does not come, (weak voice) Look for 
him again, my dear. (Girl goes to d. in f.) Look for him again. (Girl 
opens d. f.) 

Appear, u. e , outside d. f., David, Leyrac and Plato. 
* Plato. Davip. Leyrao. 



16 BLACK. AND WUIIE. 

Plato. Dis am de place, sah. Dis am Ruth's hut. (bows and exits, 
L. u. E.) 

Ruth. Is he there 7 

Ley. (on the threshold). Are you speaking to me ? 

Ruth, (eagerly). Yes yes, come iu ! (sits tip.) 

David. Shall I wait for you here, sir? 

Ley. No. G > back to the hotel and wait for me there. (David bows 
arid exits, l. v. e. Girl goes out d- f., shutting it behind her after showing 
in Leyrac.) L >o : i at me. Am L really the person yon want to see ? (>•<> 
mores his hat.) 

Ruth. Yes. (Ley R\c puts hat on table.) 

Ley. You know my Dame? 

Ruth. Your name is Maurice de Leyrac. Will you move the light a 
little closer 1 (Leybac moves table nearer head of be I) Thanks, (leaning 
on one elbow, hoarsely, eagerly) What has brought you to Trinidad ! 

Ley. What interest can you have in my movements? Oil, this is 
absurd, (kindly) 1 don't wish to speak harsh+y t<> you, my good woman, 
but you cannot expect me to stop here by your bed to hear your sick 
delusions. 

Ruth. What evil wind brought you again to this accursed island ? 

Ley. The poor woman is wandering, (gets his hat.) 

Ruth. Do you come to Trinidad of your own free will ? 

Ley. Of my own free will. Gome, you are too ill — you are under 
some error. I — my time is precious. But bit, there — (puts down his 
hit) — is there anything I can do for yon before 1 go ! 

Rutu. I want you to look back in your mind. What is the first thing 
ibat you remember, the first, first thing in your mind 1 

Ley. (interestel bit stdl a little careless of tone). The first thing I re- 
aieinber I (thinking ) 

Ruth. Do 1 live in your mind ? Look at me ! yes, look at me! pray, 
>h, pray, look at ins ! (I am forward) 

Ley. (shakes his head) The first thing that I remember ? is — is being 
jji board a ship with my father and mother. 

Ruth (stghs disappointedly). Ah ! (sadly) My memory goes back to 9 
iime farther than yours — when the Count and Countess de Leyrac 
idopted you fo.- their owu son. 

Ley. A lop ted 1113] 

Ruth. Adopted. 

Ley. (inereduoi(sly). I am not the son of the Count and Countess 1 

Ruth. You are not their son. 

Ley. (staggered. Ah! (quickly) Oh! she is mad. 

Ruth. 1 am not mad. Is this the truth or is it not? The Count and 
Countess had no other children, and brought you up in France. 

Ley. Oh! you speak the truth sn far. 

Ruth. When you spoke to them of your infancy, were you not sur- 
prised lhat they should always change the conversation to another sub- 
ject ] 

Ley. (quickly). Over and over again ! 

Ruth. Ah ! and when they died and left you in charge of a guardi in, 
did he not carefully keep from you the family papers ? 

Ley. Groat heavens ! yes ! 

Ruth. Am I mad now ) 

Ley. You say I was adopted. Then my parents, my real parents— do 
they still live 1 

Ruth. One is dead. 

Ley. My mother 1 

Ruth. No ! your father. 



ACT I. 17 

Ley. Then my mother lives ! 

Ruth. Yes. His name was Brentwood. His widow 

Ley. My mother ! 

Ruth {hanging her head). Not your mother ! his wife ! 

Ley. Then who was my mother % 

Ruth. A slave-girl on your father's plantation. 

Ley. A slave ! Ah ! {bitterly) It has been the one dream of my life to 
live worthy of my birth ! And I was never so proud and glad of it 
as this day. And now ! — {sadly) Is my mother living, say you ? 

Ruth {timidly). Do you blame her ? 

Ley. {forcibly). God forbid ! 

Ruth. You are not ashamed ? 

Ley. It is not my fault. I am sure, not hers. You would not keep 
me in suspense unless you feared for her. Where is she? 

Ruth. Oh ! don't look at me ! {hides face with hands) Don't look at 
me ! 

Ley. Why not] You asked me to look at you an hour since, and 
now — Ah ! {forcibly) you are — my mother! oh 1 mother ! {falls on knees 
by bedside) kiss me. {they embrace-) 

Westcraft appears on roof outside window in f., moonlight upon him. 

West, {aside). The lamp is moved, I cannot see, but I can hear ! I 
can hear ! 

Ley. {rises) Hark ! There is something moving outside {stands trem- 
bling ivith agitation, trying to recover his composure, dashes awag a tear, etc.) 

Ruth. Nay. 'lis only the night wind coming down from the moun- 
tains, and rustling the dry leaves of the thatch. 

Ley. Let me look and make sure, {opens d. in f., and looks out. 
Moonlight on him, picture. 3tusic, piano, tremolo). 

Enter, B. D., remaining there, Miss Milburn. 

Miss M. {aside). What has brought him to Ruth's cottage] {keeps 
herself hid., though seen from the front.) 

Ley. No, there is no one. {closes d., retiring to bedside). I see no living 
creature, I heard nothing but the wind. 

Ruth. Come here to me, I have not said what I wanted to say. 

Ley. {tenderly). You are too weak, mother. Not now ; when you are 
stronger. 

Ruth. My time is too short for me to linger. Listen. When your 
father was on his death bed, he thought of me, he wrote to me, hut his 
jealous wife destroyed his letters. He wanted to see me, but his jealous 
wife stopped the messengers. He had something to send to me, but 
thanks to his wife, I never received anything. 

Ley. Go on, mother, {holding her hand in his.) 

Ruth. His will left all his property, the plantations, houses, slaves and 
growing things to his widow. She hated me. 

Ley. Ha! 

Ruth. I don't complain. I deserved it. She was in her righl. But she 
haled you, and you had never harn>ed her. She delayed in her vengeance 
until you were born, and then — then she sold us to the highest bidder in 
the market place ! 

Ley. Ah! 

Ruth. Wait. She repented of this when her time came for her to die. 
She had destroyed nearly all things which your father had left to be 
given to me. But she had not destroyed everything ! A pocket-book left 



18 BLACK AND WHITE. 

among papers, as of no importance, had escaped her jealous eyes, and 
later, it fell into my hands. 

Ley. Where is that pocket-book 1 

Ruth. Still in my possession. Search under my pillow, my son. 

Ley. {gets book from under pillow eagerly). Empty ! 

Ruth. No, a little scrap of writing — it is your father's hand. 

Ley. My father's hand 1 

Ruth. Read it. 

Ley. " The duplicate letter to the Provost-Marshal is hidden — my room 
— the old wing " Mother, I cannot make out what follows 1 Can you ? 

Ruth {shaking her head). No more than you can. All clue to the hid- 
ing place died with Mr. Brentwood's death. Keep that pocket-book. It 
proves that your father thought of me at the /ast. You were but a 
child when there came to the island a wealth} French noble, the Count, 
with the Countess de Leyrac. They took a fancy to you, and wished to 
adopt you. They promised to treat you like iheir own son. 

Ley. Thank heaven ! They did, mother, they did ! 

Ruth (tearfully). 1 had to choose between parting with you and hav- 
ing you grow up on the plantation amongst the slaves. 

Ley. Yes, mother ! 

Ruth. I tried hard to bear it. But it broke my heart ! (wandering, 
hand to forehead, to collect her thoughts) 1 had something more to tell 
you. Did 1 say that we were sold in the market-place. 

Ley. Yes. 

Ruth. And the Count and Countess took you away — to— to England. 

Ley. (rises). To England, say you ? God bless them ! when my feet 
touched the soil of England, I became a free man ! mother, a fiee man ! 

Ruth. But when you touched the soil of this island again, the laws 
of f.ee En»land lost their hold, and you have become again what you 
were. Your old master that bought you can claim you for his own. 
You must leave me! 

Ley. Leave you, mother ! Never ! 

RuTn. Oh, why did you come back again? Go, go! While you remain 
here, you are under the shadow of the lash, you are a slave! 

Ley. A slave ! (hides his face, Ruth falls back and dies) Mother ! 
(bends over her) She has fainted. Oh, God ! her breath has ceased to 
come and go ! her heart is still ! Ah ! dead ! she is dead ! (falls upon 
Ruth, embracing her, kissing her hand.) 

Miss M. (in disgust and pain, aside). A slave! (sobs and faints, sup* 
porting herself by the door post.) 

West, (triumphantly, aside). A slave ! (smiles, music, solemn.) 

QUICK CORTAIH. 



ACT II. 

SCENE I. — Interior, same as Scene I., Act 1. 

Enter, b. p. e. to c, and on by D. p., Leyrac. with hat on and uith cane. 
Enter, R. »., Gikl. 

Ley. Your mistress is np 1 She was to see me this morning. (Girl 
curtseys and exit r. d. Leyuac looks round) The sun shines brightly, 
and the fruit and flowers gleam, but I freeze in the ghastly moonlight 
of last night— the night my mother died ! All seems dead to me now. 



ACT II. 19 

and yet I breathe, I think, I move and live ! (music) Ah ! you whom I 
love! Emily! oome to me with your light footfall and your gentle 
smile ! come and give me tlie courage to tell you what I learnt last 
niglit ! (music for Miss Milburn's entrance.) 

Miss Milburx enters, R. D., her air is constrained, full of forced repugnance 
towards Leyrac. 

Miss M. I am told you wish to see me. (affects not to see that Leyrac 
expected to shake hands ivith her, remaining r.) 

Ley. You did me the honor to permit me to call on you this morning. 

Miss M. {absently). Yes, I remember. 

Ley. I beg your pardon. You are not looking like your usual self 
this morning. 

Miss M. Indeed, I am not well. 

Ley. AVill you let me offer you a chair 1 

Miss M. Thank you, no. (sits on sofa, r. c. Leyrac is surprised) I 
have one. (aside) I wonder if I ought to offer him a chair? There is 
grief in his eyes. Why does he come here? I fear I know what he is 
going to tell me. (aloud) Won't you take a chair ? 

Ley. No, thank you. I am a changed man to what I was last niglit. 
i" have many things to speak to you about. So do not notice if I am 
strange in my manner, (aside) Oh, how shall I tell her 1 {aloud) But, I 
see, I fatigue you. 

Miss M. No. Pray, what do you think of our island by daylight 1 

Ley. All that is lovely is here. I think the view splendid. But, 
pardon me — I — I — Miss Milburn, you were good enough last evening to 
let my servant see me here. He brought a message from a stranger. 
That stranger — Oil ! Emily ! (she rises, startled) Have I offended you 1 

Miss M. (resumes seat, hesitatingly). N-no ! (aside) Oh, my heart! 
(aloud, coldly) I have no objections to hear you. 

Ley. Emily, will you hear me as no other woman would ? Will you 
feel for me as no other woman can feel for me ] (takes her hand.) 

Miss M. (rises). Let go my hand ! 

Ley. (kneels to her). Oh! let it rest here one moment, one little mo- 
ment in mine own. Suppose — try to suppose I have been moved from 
my high place— thrust down into a lower sphere, unworthy of the dust 
from off thy feet ! Would there remain one hope for me — could I look 
up from my misery and see your love as a star above me ? May I hope 
you would be the same to me ? 

Miss M. Pity, oh, pity ! (takes away her hand.) 

Ley. (rises). Pity 1 (scornfully) Pity ! No creature living wants pity 
as I need it ! My misery robs me of my courage — it makes me sin 
against my honor ! The words I have to utter die upon my lips, while 
those I would have sealed up rush out, despite me. (draics Miss M. to c, 
on his left) Emily, come to my heart ! I love you ! (she resigns herself to 
his embrace as if unable to struggle against her pride) Look at me ! Look 
up. Let me read your love in your eyes ! Let me find it on your lips ! 
(kisses her.) 

Miss M. (starts angrily to h. c). Oh, the shame of it ! the shame of it ! 
(sobbing.) 

Ley. (surprised). The shame of it ! What do you mean ? 

Miss M. Don't come near me ! Advance one step, and I will call my 
servants (hand extended towards bell on table) and have you thrust from 
the house. Have you no thousht of my weakness 7 Is nothing sacred 
to you ? (indignantly) How he looks at me ! one would think I had in- 



20 BLACK A2SD WHITE. 

salted him ! All, 1 deserve it! I deserve this— all! Bitter as is the 
lesson, I deserve it. (sobs.) 

Ley. (a). What do you mean ? What shame? What bitterness ? 

Miss M. You ask me to say ? 

Ley. I demand 

Miss M. Don't you know that a lady is degraded on this island if a 
slave's hand has touched her 1 A slave's lips have touched mine ! 

Ley. {starts). Ah ! {quickly and sternly) You were in the hut last 
night ! You heard 

Miss M. {crosses to r. c.). I heard all ! 

Ley. (c.) Ah ! {music, plaintive, change of tone and manner to calm ones) 
Miss Milburn ! you have brought me to my senses. I ask your pardon. 
{voice falters for an instant, ani then is strengthened by an effort) Humbly 
— on my knees — {droops on one knee) as a slave should ! There is but one 
atonement {rises) that 1 can make. You will see me no more ! {going tip.) 

Miss M. {starts to her feet to rush after him). Maurice ! {remembers 
herself, stops short, trembling ) Not in that tone ! No ! don' t leave me ! Not 
with that look! Oh! I have wrecked his proud spirit! I have broken 
his heart! I'll not leave you till you say you forgive me ! 

Ley. {sadly). Forgive you ! Willingly ! fully ! with my heart of 
hearts ! 

Miss M. I did not mean it ! I am but. a woman ! I did not know what 
I said. Oh ! that look — that look of despair ! that dreadful look of de- 
spair ! xMaurice, my heart bleeds for you! Say something angry to me — 
help me against myself! Maurice! {approaches him) Maurice! You 
know {falls on Leykac's breast) I love you ! 

Ley. Oh ! (in gratitude) I— I will remember this moment when the 
ocean rolls between us. For your dear sake I must quit this place at 
once. 

Miss M. Oh, give me time to think. Don't be as cruel to me as I 
have been to you. I implore you, Maurice, wait here until I come 
back ! I will comeback! Wait for me. (goes n.) I'll not be Ions, Maurice ! 

[Exit, R. D. 

Li :y. (sighs'). Ah ! what a woman I have loved, what a woman 1 have 
lost! Wait for her here! (stated n. c.) Why! 1 To what purpose! It 
would but renew our leave-taking. No! I must spare her the misery 
of a last farewell, (rises) My lifeisended. And yet 1 move! I breathe ! 
I think I live ! Pah ! what am 1 surprised at? (up c.) It is the slave's 
blood in my veins — the slave's nature in my heart ! A slave will submit 
to anything! (looks to r. d.) Farewell ! my first and my last love, fare- 
well ! farewell ! (hat on, goes up c.) forever ! (chord.) 

Enter, l. u. e.. to d. f., West-craft, hat on. Leyrac recedes down K. C. } 
removing his hat politely in salute. 

West. You here again? Once for all, Mr. Frenchman, one of us is 
one loo many in this house— I am in my right place— you are not. (comes 
down.) 

Ley. You are in your right place 1 

West. Here ! yes ! 

Ley. What do you mean? (crosses to be on Westcraft's l.) 

West. Why, I am engaged to be married to Miss Milburn ! 

Lev. (checks himself in almost going to strike Westcraft). You ! 
(forced laugh) Ha, ha"! Mr. Planter! As we say in France, " Un ben 
parti n'est pas trop souvent pris." 

West. Keep your foreign gibberish to yourself! 

Ley. My foreign gibberish 1 One can see thai your education has 



ACT II. 121 

been neglected. In the first place, one gentleman does not speak to an- 
other in that rough manner and rude tone. 

West, (sternly). You keep a civil tongue in your head ! fingers get 
crushed that meddle with my mill ! 

Ley. Worse and worse! 1 had no idea there were such baibarians 
amongst these savage islanders. 

West. Are you mad, or drunk ? 

Ley. {sternly). First lesson, Mr. Planter ! When you meet a gentle- 
man in a lady's house, you should take your hat off. You see. 1 have 
mine in my hand. You will not take yours off! No ! (Westcraft 
laughs in his face) There, then! (knocks Westcraft's hat off with his 
cane. Westcraft steps back and half draws his boioie) If \ou lay a 
linger on me, I will strangle you where you stand! (tossis cane over B. 
o. Westcraft sheathes knife, scowling.) 

Wolf enters, r. v. e. to d. f. 

Wolf. Carriage ready, massa. 

Ley. (sternly'). Keep this from M : ss Milburn's knowledge, or expect 
another lesson ! Send your seconds to my hotel. I shall await them 
there in an hour from this time, Mr. Planter ! (bows formally and exit l. 
u. a. by d. f.) 

West, (up to c, Wolf stepping in front of d. f., r. side of it). Wolf, 
pick up that cane, and wait for me in the market-place till I come. 
(smiles vindictively. W olf picks up cane slowly, grinning fiercely.) 

Scene closes in. 

SCENE II. — Interior, hotel room in 1st grooves. 

Enter, l. to c, Leyrac. 

Ley. I have provided for my faithful. servant. If I fall in the duel all 
is over. If I Yixe— (pauses) 1 live? There is one -thing more. Mich- 
aelmas! {calling to r.) Michaelmas! 

David enters, e. d. to c. 

David. Sir ! 

Ley. Give me your hand. (David excuses himself) You know that for- 
tune has reversed our stations. I, who was your master, am a slave on 
your estates. When 1 ask you for your hand, and you give it, it is an 
honor you do me, my master! Still refusing ? Have you forgotten what 
1 told you when I came hack to the hotel last night? 

David. No, I have forgotten nothing of it. I wish I could. 

Ley. I was your master in France — but you are my master here, and 
I am your slave. 

David (feelingly). Oh ! think of me as yon ple:ise, but don't speak of 
yourself in that dreadful way. Here, :is everywhere, you know what 1 
am: the devoted servant of the best and kindest master man ever had. 

Ley. Thank you, David ! 

David. I am trying to keep down my emotions, sir, but, like cham- 
pagne, they will bubble up. I know I ought to be ashamed of myself, 
as a well-trained servant. If I was a page under a hutler now, he 
would punch my head, and serve me deucedly well right. 

Ley. There, there, that will do. My mother la.-t night gave me this 
pocket-book (shoivs book) as the only relic of my father. There is only 



22 BLACK AND WHITE. 

in it this paper, which mentions a letter in duplicate, the original prob- 
ably destroyed. 

David. But the copy is in existence ? 

Ley. That is just possible, {gives pocket-book.') 

David, {reads paper). " The duplicate letter to the Provost-Mar- 
shal." — ' : In a safe hiding place " — oh, here conies the clue — " my room 
— six along and three across." Hem ! it is not easy tor a stranger to 
discover it from this. 

Ley. The document must have been of importance to my poor 
mother, and, therefore, perhaps of some to me. 1 believe you enjoy 
quite a popularity among the negroes of this island ? 

David. Well, yes, sir, that I do. There is that Mr. Plato who lias 
quite patronized me. 

Ley. Some of the people who were about my father when he died 
may know something. Take the pocket-book and do your best with it. 

David. I believe I can find the very man. 

Ley. I give you full leave to spare no expense. 

David. I will interrogate all the old servants. Ah ! I have something 
to live for now. A chance to serve my slave — I begin to feel as if he 
were my master again. 

Ley. One question before you go. Is all prepared for my mother's 
burial 1 

David. I regret to say, sir, that there I have done nothing. 

Ley. What ! nothing. You know I could not move in the matter 
without risking the revelation of my parentage, and yet — yet you have 
done nothing. 

David. It is not my fault, sir. Another had arranged for all the fu- 
neral, whom no one knows. 

Ley No one knows 1 

David. No one can guess. 

Ley. (aside), lean! Oh, Emily ! But I must not think of that now! 

David (to r.). I hear somebody coining up the stairs. Do you expect 
anybody, sir ! 

Ley. Ah ! yes. 

Enter, r. d., Wolf, remaining by the entrance, sullenly. 
Ley. It is one of Westcraft's seconds, (turns, and sees Wolf, and is 

Surprised.) 

Wolf. Is not one of you the Count de Leyrac 1 

Ley. That is my name. You are Mr. Westcraft's servant ? 

Wolf. I am Mr. Westcraft's slave. 

Ley. Ah ! you come to me from his friends ? 

Wolf. No ! I come to you from master himself. 

David. How dare you speak to the Count in that manner ? 

Ley. Michaelmas, keep quiet. 

David. I ask your pardon, sir, but the impudence of this yellow 
scamp was too much for me. 

Ley. Ket^p your reproof to yourself, and lea«ra me to speak with this 
messenger forme. Come in. (Wolf steps a little forward) Go, Midiael- 
mas. (exit, David, r. d.) Well, you bring me a message from your mas- 
ter] 

Wolf. Yes. About your cane. 

Ley About my cane, (puzzled) Oh ! T remember now. I left it at 
Miss Milbum's this morning. Where 13 it ? 

Wolf. Waiting for you in the market place. 

Ley. Again! (nearer to Wolf, eyeing him steadily) Is this insolence of 



ACT II. 23 

yours assumed, or don't you know any Letter ? I will give you the bene- 
fit of the doubt: you don't know any better. 

Wolf, {curtly). Thank you. 

Ley. Answer this question civilly, if you can. Did your master tell 
you to say this ? Yes or no 1 

AVolf Yes ! 

Ley. Mr. Westcraft told you to tell me what you have repeated to me ? 

Wolf. Yes! 

Ley. Very well. Mr. Westcraft wants another lesson — Mr. West- 
craft shall have it ! Where shall 1 find your master? 

Wolf. Where you will find your cane. 

Ley. {going r.). You shall feel my cane over your hack : 

Wolf. Shall I ? [Exit, Leyrac, r. d., and Wolf same, defiantly. 

Scene changes to 

SCENE III. — Market-place in hth grooves. Very brightly lighted. 

Discover Negroes, at stalls, crossing with baskets, dancing, speechifying, and 
Planters' Wives making purchases and promenading. Introduce bal- 
let by Slave Girls and grotesque dance by Comic Negro. Slaves, 
with baskets, crossing stage several times, calling : Aguadiente ! quien 
hebe ? Watermillions ! Mangoes — who'll hab de berry best man- 
goes 1 Lively music. Small White Boy enters l., and deliberately 
knocks down two Little Blacks in his path, and struts up c. They grin 
and resume playing, as if it were a matter of course. 

Enter, r. v. e., and comes down c , Westcraft, looking at his watch im- 
patiently. Cease music. 

West. The hour is nearly up, and yet no signs of the Frenchman and 
Wolf. Here! some of you ! look along the road and see if you can see 
anything of Wolf, (aside) If Miss Milburn thinks she can throw me over 
for another man, Miss Milburn will find out her mistake, and, what's 
more, if her walk this morning extends to the market-place, she will 
find ic out here, {goes up c, and saunters off r. u. e.) 

Enter, b. 1 e., Miss Milburx. 

Miss M. (b. c. front). He surely will come back this way. I must 
see him once more. Oh ! there is his man Michaelmas. 

Enter, l. 1 e., David. 

Mr. Michaelmas, where is your master? 

Davii*. I left him at the hotel, miss. 

Miss M. Is he aione there ? 

David. Yes, except that he had Mr. Westcraft's servant with him. 

Miss M. Mr. Westcraft's servant? (aside) What can he want with him. 
(aloud) Do you think he would come out this way ? 

David. I can't say, miss. 

Miss M. Well, I'll wait for him here, {takes a few steps to and fro im- 
patiently) No! I'll go there to find him. {aside) I must see him! even 
if I have to meet Mr. Westcraft himself. I'll go there first, anything is 
better than this suspense! {off r. 1 e.) 

David. Ha ! There's something wrong there ! (c.) The young 1" 
don't seem to know her own mind for two minutes together. In 



-4 BLACK AND WHITE. 

time when I was a gentleman I should have asked if I could not he of 
some assistance to her, but now that I am a servant, I hold my tongue 
and mind my own business. Well, if I have got a few minutes before 
me, I had better run over the task 1 have set to myself, {produces letter) 
"Duplicate letter to the Provost-Marshal" — "my room" — that, is evi- 
dently the room in which he slept—" six along; at d three acre ss." The 
puzzle lies in those last few words. Taking inches it might be a chest — 
lakin > feet, it might mean a room. 



Enter by steps up c , Plato, enthusiastically received by the Neguoes, as he 
comes down c. 

David. Ah! my expected pilot. 

Plato (botvs). Hab 1 kep' you a-waitiir, sah 1 Sorry, sah ! But de 
press ob culled business in dis island am pulfectly oberwhelminatin' on a 
public man like me. 

David. Aie thf> public men well paid, Mr. Plato, en this island 7 

Plato {disgusted). Well paid, Fah ! Dey is i ot paid at all, sah ! All I 
gits is a iilly encouragement and de comfort ob my own approvin' con- 
science, (l. of David at c.) 

David (aside). Hem ! 1 think I can manage this part of it very easily. 

Plato What am de use ob my approvin' conscience ? Can we eat 
him? Will him fine me in clothes? Will he cober me up warm in de 
night! I is sick ob my approvin' conscience ! 

David. Well, Mr. Plato, about the sights of town. What is the first 
of your public institutions ? 

Plato. Whareber de flag ob England floats, what is de fust of public 
institootions ? Why. sah, de grog-shop roun' de corner. Ha, yah ! 

David. Well, before we patronize that public institution, 1 would like to 
put a few questions to you upon the old families of the island — all out 
of pure curiosity. 

Plato I nebah encourage idle curiosity, sah. I hab moral objec- 
tions to de same. Misser Michaelmas, 1 wish you a berry good moniin'. 
(stands still, face turned from David.) 

David. Good-morning, Mr. Plato. 

Plato. Good-morning. 

David (aside). He says good-morning, but lie does not stir. I under- 
stand, (aloud) Mr. Plato, have you any moral objections to receive a 
sovereign ? 

Plato (turning around quickly). What dat you sny, sah ? 

David. Have you any moral objections to a soveieign ? 

Plato Not if you put it in my pocket when 1 am lookin' de oder 
way. Shall I look de oder way, Misser Michaelmas ? 

David. Not yet, Mr. Plato. I want some information. If you enn 
give it, I will pay yen handsomely, in installments of a crown at a time. 
Do you know where is the bouse of tie Mr. Bient\\< od, that died some 
years ago ] 

Plato. Massa B.entwood, sah ! 1 was one ob de sarvints ob de 
family. 

David. Ah! you enn look the other way. 

Plato (turns his back on David, both his hands in his coat-tail pockets, 
looking round). A lubly mornin,' sah ! I nebah see de birds >ook nicer a 
bloomin' on de trees. 

David (drops coin in Plato's pocket, Plato rattles coin in one corner, 
fishes it up, furtively bites it, and drops it again in pocket, joyfully). Ky ! 

David. Is the house far from here 1 



act ir. 25 

Plato.. Pooty good long way from heah, sah, on de coast road to de 
norf. 

David. Does anyone live there now ? 

Plato. De present owner libs in de new wing, sah. 

David. The new wing, (aside) Tben !: the old wing" means the old 
ring of the house. That is one mystery cleared up. Mr. Plato, I think 
ou are looking the other way. 

Plato ( facing l.). I tink not, sah! 

David. Oil. yes, you are. 

Plato. Wei!, sah, a genibleman kin look de oder way without re- 
markin' it to himself, (about half of tlwse on the stage may retire gradually, 
rendy to come on for the Jinal tableau) Hab you eber remarked dat, Mr. 
Micuaelimas 1 

David. Yes, I don't know but what I have. (Plato shakes his coal- 
tails significantly) Once more about the old wing. No one lives there ? 

Plato (shudders). Not a soul, sah ! Dat's whar Massa Brentwood 
died, and den dey shut up all the rooms, and nobody eber go dar since, sah. 

David (aside). Then things are left just as when he inhabited there ? 
Good, (aloud) You are looking the other way this time, Mr. Plato 1 

Plato. I an*adrmring de beauty ob my native market-place. Lubly 
market-place, sah ! 

David. I see. (drops coin in Plato's pocket.) 

Plato. Ky ! 

David. Now then, I want a guide to take me to the old wing. 

Plato. Nobody is allowed to go dar, sah. Dey wouldn't let you dar 
ebon if you axed 

David. Then I shall go without asking. 

Plato. You want a guide, sah ? 

David. Yes. Can you find me one to point me out the room in which 
Mr. Brentwood died ? 

Plato. I am the only living man that knows de ole wing. 

David. Ah! (aside) I hnve been too hasty with my second crown. I 
will weigh the next more carefully. Mr. Plato, no. you needn't look the 
other way yet. I should like to take a walk along the road to the north. 
The rest of the sovereign will be found under the window of Mr. Brent- 
wood's room. 

Plato. Dar won't be any risk to me, sah ? 

David. None. 

Plato. Misser Michaelmas, dis is just do mornin' for a walk along de 
coast road to de norf. Permit me to offer you my arm, sah 1 

David. Thank you. 

Plato (going l. with David). Mine the pebbles in the road, sah ? 
Don't 'tep in de puddle ! (at l. d.) Dis way, sah, dis way. Out ob de 
way dar, you white niggahs ! Mine de 'tep, sah ! 

[Exit, with David, l. 2 e. d. 

Enter, r. v. e., coming doivn c, Westgraft. 

■\Vk>t. The Frenchman is coming at last. Ah ! (in satisfaction) I am 
glad of it. (cane in hand) Let her but come as I am correcting him. and 
t will be just the triumph I want. (l. c. front.) 

Enter, r. v. v.., followed by Wolf, Leyrac* Both come down. Slaves 
and Planters stroll on and off, by v. e.'s. 

* Wolf. Letuac. Westchaft. 

B. C. C. F~ Q 



26 BLACK AND WHITE. 

West. So you Lave come at last ? 

Ley. You liave sent me a message relative to that whip which you 
hold in your hand. Do you want another lesson such as I taught you 
this morning ? Are you responsible for the insolence of this man i 
{meaning Wolf.) 

West. Settle it with the man ! (Wolf looks at Leyrac and smiles de- 
fiantly) What does it matter to me ? 

Ley. Hark ye, Mr. Planter, I gave you the option of settling our 
quarrel like a gentleman. 

West. Are you so vain as to imagine that any friend of mine would 
take a message to yon I (All on for picture.) 

Ley. Is that your answer ? 

West. All my answer, yes. 

Ley. {drawing glove off). Then, take mine ! (strikes Westceaft across 
face with glove.) 

Excitement. Scmi-ctrele formed of Spectators behind Wolf, Leykac and 
Westcraft. Pause. 

West. Bear witness, all of ye, that he has struck me in the face with 
his glove. 

Ley. What ! do you call witnesses to your degradation ? Is there no 
shame in you ? 

West, (sternly, with suppressed passion). Wait a bit. You shall see. 
Wolf. 

Wolf. Master? (to c.) 

West. How many years' experience have you had in flogging my 
slaves? (Leyrac r. c.) 

Wolf. Four years! 

West, (gives Wolf cone). Could yon flog a slave with that canel 

Wolf (lays blow rigid and left with cane, making it whistle in the air). 
Yes! 

Wept, (points to Leyrac) Seize that man ! (confusion. Women stand 
back affrighted.) 

Voices. No, no ! the French gentleman! 

W est. Who calls him a French gentleman 1 He is a slave ! 

Ley. What! 

All. Oh ! (emotion.) 

West, (to Leyrac, tauntingly) The wind on the leaves of the roof 
last night was I ! (Leyrac; falls back confounded) Ha! you see ! he can- 
not deny it ! (murmurs. The Planters fall away from Leykac and side 
with Westceaft) Stand back ! would you break the laws ? You know 
what is the penalty when a white man is struck by a slave. (Wolf gels 
three or four Negroes to prepare to rush on Leyrac) 

Ley. (fiercely). Wolf ! if you want to see a coward, look at your 
master. 

Wolf. Ha, ha ! now, then, boys ! (they seize Leyrac, struggle. Hur- 
ried music.) 

West, (laughing). Seize him up! That's right! Bear him to thp 
whipping post. (Leyrac kneels to him.) 

Enter, K. o. E , doion c, Miss Milburn. Her hat falls off. She puts aside 
Wolf and Slaves as they drag Leyrac up c. 

Miss M. Hold ! (embraces Leyrac. ivlo is kneeling, exhausted.) 
West. Are you mad ! you are touching him 1 
Miss M. I am touching hint. 



ACT III. 27 

West. You see -V people around you ? 

Miss M. {tcornj iliy'j. I see the people. 

West, lie is ;i giavt I 

Mrss M. {with great force). I love him. (Negroes and the foreign mer- 
chants cheer. Hurrah!. The Planters silence the Negroes. All for-n 
picture.) 

Slaves. 

* 0*0*0*0* 

*o*o*o*o 

Planters. 

*Miss Milburn. *Leyrac. 
* Wolf. * Westceaft. 

slow cctrtain. 



ACT III. 



SCENE I. — Interior in 3rd grooves. Gas down in house and on stage, except 
u. e. and l. 1 15,, off stage. 

( Voice of Plato r. u. writer). Dis am de winder ob Massa Brentwood's 
room, suli. 

{ Voiec of David, same). Place the steps. Now, stand out of the way. 
(hammers on shutters, opens thou. Colwths fall and are tern apart. Gat 
gradually on, quarter turn. David opens window sash. Gas on, half -turn.) 

David enters ly wifidow and stands r. c, a little up, loohing round as if 
puzzled by the darkness after tlw sun light. Gas up full in house ami 
on stage. 

David. If every house-breaker felt as I do at present, the ancient and 
honorable profession of house-breaking would be at a discount. The 
foul air is fighting bravely with the damp oppression of the death-room. 
Mr. Plato, (at c) 

Plato (shows his head at window, as if he were on ladder there). Yis, 
Misser Michaelmas. 

David. You found the tools'? Where is that measuring rule that we 
borrowed of the carpenter as we came along 1 

Plato (gives rule, putting his arm into room with great caution). Here 
am de rule, sab. 

David. Thank you. Are you not coming in, Mr. Plato ? 

Plato (in fright). N-n-no, tank you, sah ! 

David. Theie's nothing here but the things just as they were left when 
it was closed up. What are your objections to coming in ? 

Plato. Coming into dat room, sah ! I hab reasons ob my own. You 
see dis nose on my face 1 (taps nose.) 

David. Well, it is rather flat, but still it is a nose. What then? 

Plato. What den, sah } A good deal, den, sah. Do you smell nuf- 
fin, Mr. Michaelmas ? 

David. I can't sniffle like that, but I can only notice the smell of a 
room that has not been aired for years. 



28 BLACK AND WHITE. 

Plato. You call dat de 'mell ob a room dat liab not been aired for 
yeah, sah ? 

David. That's all. What do you call it ? 

Plato (solemnly). I call dat de 'mell ob a ghose, sab. ! 

David. A ghost's smell ! ha, ha ! 

Plato. An' my nose hab strong objections to dat 'mslL 1 present. 
ray compliments to Massa Brentwood, and beg to leab him alone wid 
yon, sah. Good-morning, Misser Michaelmas! 

David. Good-morning. (Plato disappears) It seems the blacks have 
a host of virtues, amongst which is a delicate instinct for a ghost. 
Where is that paper? (gets paper from pocket) "My room in the old 
wing." So far, so good. "Six along and three across." A matter of 
measurement. Suppose {hesitates) I begin with the bed? (goes to bed, 
measures its length ivith rule.) 

Plato (head appears at window). Misser Michaelmas ! 

David. Well, my friend with the delicate nose, (continues his measur- 
ing) what now ? 

Plato. I present my compliments, and beg to add a lilly posescript. 

David. Well ? 

Plato. S'pose you find any money in dat room ? 

David. Money 1 

Plato. I goes shares, sah, wid you, sah. Misser Michaelmas, I beg 
to wish you good-morning, (disappears.) 

David (impatiently). Oil, good-morning, (music, mysterious) Another 
talent of Mr. Plato's — a keen eye for the main chance, (shakes his head) 
No, it is clear Mr. Brentwood has not confided his secret to his be 1. 
Stop ! I'll try the floor, (goes k.) I have been measuring in feet — now I 
will measure in yards, (jne tsures sta-ge across from n.) Four — six — twelve 
— fourteen — confound it! (l. c ) it comes just in the middle of a board. 
Well, three across, {measures down from flat) Here is the point. The 
board is loose, (lifts board a little, stamps on the floor) Ugh! plenty of 
crawling creatures, at all events — spiders, centipedes, and such odd 
things — but not a line of written paper. I will try some other plan. 

Plato (shows his head as before). Misser Michaelmas ! 

David- You, again % If you keep climbing up and down those steps 
much more, you'll convert them into a treadmill. What business has 
prompted you now ? 

Plato. I present my compliments, and beg to offer another lilly pose- 
script. 

David. Your conversation is like young ladies' letters, all postscripts. 

Plato. Why should two genblemen dispute about de money 1 I say, 
sah, you give me a dirty, lilly ten pounds down, and you hab all you 
git. 

David, I present V»y compliments, an' I beg to decline your offer. 
Good-morning, Mr. Plato. 

Plato (disgusted). De drefful greediness ob de white man am some- 
fin' awful to behold. Mr. Michaelmas ! Mr. Michaelmas ! you are not 
going to lose a fortune for de sake of a lilly trumpetry ten poun' note ' 
Don't you do it, sah ! you'll git 'nuff money to pay off all de debts on 
you' estate. 

David. I shall have to be quick about it, as it is to be disposed of to- 
day for the benefit of the mortgagees. 

Plato. Did you speak, sah ? 

David (shortly). No! 

Plato. You say you will gib me de ten poun' down ? 

David. Go to the devil ! (r. ) 

Plato (solemnly). I renounce de debble, sah ! I forgib you, Misser 



ACT III. 29 

Michaelmas ! When all de money comes tumbling out ob de wall 'bout 
your ears, you'll be sorry for (lis ! 

David (laughs). Comes tumbling out of the wall! ha, ha! does he 
thwk— eh? Why not,, after all ! 

Plato. Misser Michaelmas, you hab transgressed ag'nist de laws ob 
politeness. As a polite man myself, I beg to mention anoder lilly pose- 
script ! 

David. Oh. bother ! 

Plato. No boder, sab — it's a pleasure. I want to make a poppersi- 
tiuu. I present my compliments and beg to offer you my hat, sah ! all 
de money dat you line, you put in him hat, an' all de money what 
tumbles froo dat hat comes to me, and all de money what stops in de 
hat, goes to you. (throws hat in.) 

David {examines hat and puts his arm through it). All the money that 
does not tumble through the hat comes to me ? Thank you for nothing. 
(tosses hat to Plato) Have I been measuring all this time instead of 
counting ? Where will I commence 1 Oh, the pattern on the wall. 

Plato. Misser Michaelmas, won't you hab de hat. wid Misser Plato's 
conipiiments. 

David. Pshaw ! (looks up at frit, r.) The window is in the way. I 
will try the top row of roses 0:1 the other side, (to l ) " Six along " — 
down from that— one — two — three — that's the rose. But how to reach 
it. (stands upon bed.) 

Plato. 1 don't know whether I am most frightened ob losing de 
money or ob seem" de ghost ! (sits up on window-sill, about to enter) Does 
yer see de money, sah ? 

David {with joy). Oh ! 

Plato (in terror). Ky ! {tumbles out of window.) 

David {eagerly, hand at trap in frit) Here is a piece of the malting 
loose and a bii of string hanging' from it— a letter at the end of the 
string ! Hurrah ! (gets off bed and runs to window with letter in his hand. 
Knocks the dust off' it) I can hardly read it for joy ! ,: Duplicate of the 
letter to the Provost-Marshal." Oh, my master ! I must go back to 
town without delay. 

Plato (shows his head). Misser Michaelmas ! 

David. Out of the way! 

Plato. Hab you foun' de money 1 

David. Out of the way ! 1 am going to jump for it ! Out of the way ! 
(Plato disappears, David leaps out of window, waving letter.) 

PlATO (<w if he had been jumped upon, screams). A-a-al) ! 

Seenc closes in. 

SCENE II. — Prison interior in 1st grooves. 

Enter, it., Jailor. Enter, r., Miss Milburn. 

Miss M. T want ',0 speak to the Count de Leyrac. Here is the magis- 
trate's order, (gives paper. Jailer looks at paper, bows, crosses to l., ten- 
locks L- i> , and then goes ojf l., pros, e.) 

Enter, l. d., slowly, Leyrac, but seeing Miss Milburn, approaches her 

eagerly. 

Ley. Good-morning, my darling. You are most welcome ! 

Miss M. I bring you good news, Maurice. 

Ley. You were sure to be the first to bring that, (takes her hand.') 



30 



BLACK AND WHITE. 



Miss M. The sympathies of everybody on the island are with you. 
The magistrates themselves are ail in your favor. There is proof that 
you insulted Mr. Wesicrafl in the market-place, but none thai you are a 
slave. You are only known as the Count de Leyrae. Oh! what a 
charming thing Justice is — when it is on your own side ! You will pass 
a formal examination, and leave the court as free as other men. But 
how you look at me. Do you so admir* me 1 

Ley. I admire you. and I love you with all my heart and soul ! 

Miss M. Vou must have patience, my love. Come, come, my hand 
has nothing to do with it. 

Ley. Is the day so far off when the hand will be mine 1 

Miss M. Ah! that may be nearer than you have expected. Mr. 
Westcrafl insisted on my giving a definite answer to his pretensions. I 
shall find much pleasure in so doing. 

Ley. 1 who am to stand as one of them amongst the slaves! can I 
n myself with marriage ? 

Miss M. Now, 1 dislike you. Ah, hear me! I almost rejoice that your 
misfortunes have come. I can prove my esteem of you by saying: 
Slave or free, 1 love you ! Maurice, will you take my hand ? 

Ley As the hand of my \ 

Miss M. i have no objections, sir! 

Ley. And when will we be manied ' To day ' 

Miss M. You are in a great hurry, sir ! Ah ! it is not easy to say so, 
but 1 know you will not think the worse of me for it, but— but 1 have 
hastened die time ol our marrriage. 

Ley. Vim! Ah, 1 understand, (gloomily") Your friends 

Miss M. No! Vou don't understand. My friends u ay suppose what 
1 1 ley like, and say what they will. Marriage, in my eyes, is too sacred 
to be made a refuge from the opinion of the world. I have no parents 
— you ate an orphan. To me you are the world. Slave or free, what is 
that to me? To-morrow there is a ship sails tor France — will you go 
with it, and take mo wit your wife? 

Ley. Emily ! (embraces her) Does there a man live wlJo is worthy of 
you ? 

Miss M. I think there does. 

Enter, b.. paper hi hand, Proyost-Marsual. 

Marshal, Count Maurice de Leyrae, I regret that I have an un-> 
■ it commission to pei form, (r.) 

Lev (a, tiith .Miss M. on Hi left). What is it, sir? 

Mai:. It is my official duty here to be present at the sale of slaves. 

Miss M. My dear Provost-Marshal, that duty will be rei.deied less 
unpleasant by one exception to-day. 

Mar. 1 am glad to hear it. 

Ley. Slay, Emily. It is forme not to permit any thoughts injurious 
to my love of truth to be circulated. As far as regards me, jour duty 
must cised. 

Mtss M. My darling, yon are not bound to criminate yourself by re- 
n the Si Ciel of your birth. 

Mar. You have only to remain silent. Mr. West craft has no written 
proof — and so matters will be in what is popularly termed adead-lock. 

Ley. 1 am not bound to \. i . ddence that will injure m< 

but, if questions are directly put to me, I must not in honor permit m 
silence io pass for consent. 

Mar. 1 must ask \on certain leading questions, which will be regis- 
tered in the records of the court. 



ACT III. 31 

Let. Then, come what may I will not deny the mother that bore me ! 
I am the son of Ruth the Quadroon ! (Miss M. tries to check his speaking.) 

Miss M. Oh ! think of me ! Don't, speak of that ! 

Mar. Though the consequences may be of such grievous import to 
yourself. 

Ley. Knowing far more of the consequences than you think ! 

Mar. Sir, I respect you! {offers his hand which Leyrac eagerly takes.) 

Ley. Ah ! thank you ! 

Miss M. (to Marshal). I will not be behind my husband in truth 
and self-sacrifice ! Slave or free, you shall have the hand that [ prom- 
ised you ! 

Mar. Miss Milburn, you are a woman in a thousand ! 

Miss M. No ! (embraces Leyrac) I am only a woman who loves. 

Enter, R., paper in hand, Westcraft. 

Miss M. What do you want, here 1 

West. Ah ! To tell you that the so-called Count de Laryac is in- 
cluded in the bill of sale. Does he deny he is a slave ? 

Mar. Alas ! he will speak the truth. 

West. You are wanted to attend the sale. 

Mar. When? 

West. In an hour. 

Miss M. (joyfully) Then there is time to do what I wish for. Mr. 
Marshal, you were an old friend of my father's. 

Mar. Yes. 

Miss M. Well, will you do me a favor] I know you will. The rec- 
tor is at my house, and all is ready for the ceremony ; will you attend 
and give me away 1 

Mai;. With the greatest pleasure! 

West. Remember you are answerable for that man. 

Miss M. (tauntingly). The Provost-Marshal shall not lose sight of 
him, sir ! 

West. I shall have the pleasure, Miss Milburn, of attending the sale 
and buying your husband. 

Miss M. I shall attend and outbid you ! 

[Exit Marshal, r , Miss M. and Leyrac to r. 

West. (c). What ! would you spend all your fortune on him 1 

Miss M. (looking back, at r. d ). To the last mark ! 

[Exit, r., with Leyrac, affectionately. 

West, (alone). Baffled! Slie meant what she said ! And her fortune 
is more than mine. How shall I act? Let me see — (reads paper) " All 
the property composing the Michaelmas estate, moveables, standing 
crops and in store and mill, cattle, slaves and buildings — " " To be sold 
at public auction, unless previously disposed of by private contract ! " 
(repeats excitedly) How did I come not to see that ! by private sale ! he's 
mine ! he's mine at last ! [Exit, r. 

Scene changes to 

SCENE III. — Market-place in 5th grooves, same as Scene III., Act II. 
Groups and market-people as before. Planters, some with rattans and 
cowhides, strolling about, note-books in hand, smoking, etc. 

First Planter. What can all this mean 1 The first lot of the niggers 
hasn't yet arrived. 

Second Planter. It begins to look like no sale. 



32 BLACK AND WHITE. 

First P. Who'll come along of me around to the Provost-Marshal's 
(going up.) 

Second P. (up R ). Oil ! here conies the Provost-Marshal. 

Enter, r. u. E., coming down c. Marshal, Miss Milburn on Letrac's 
ann. All jiock around them. 

Mar. What does this all mean ? 

Second P. There's no sale. 

First P. It ought to have been begun half an hour ago. 

Mar. I will go to my office and 'see what has caused the delay. 

Enter, r. u. e., Westcraft.* 

West. The sale is stopped. 

Ail Stopped ! 

Miss M. (to Leyrac). What does lie mean? (uneasy. Leyrac tries to 
quiet her.) 

West. Yes. The notice has boon sent to your office, (to Miss M ) 
It moans that you rated your husband :it the value of all your fortune, 
and I have rated ray revenge at l!h» whole value of mine. That is ray 
slave ! Take leave of your wife and koine ! 

Miss M. (clinging to Leyrac). He cannot part us! I will go with 
you ! anywhere ! 

West. I forbid it! I forbid his wife to live on my plantation ! He 
has married without his master's consent. 

M;ss M. (to Marshal). Oh ! they cannot separate me from him ? 

.Mar. [effected). I fear that i be— the laws, in fact, lie can. 

West. Do you hear that ? 

Ley. Mr. Planter, your slave wishes a word with you on the subject of 
his wife. 

West. Ha, ha ! so you have foifrtrPyour tongue at last. You were si- 
lent enough the lost tune «e met. 

Ley. The last time that we met, and the other times that we have 
met, I was conscious that 1 came in between you, and the woman of 
your love. Besides, I was once or twice guilty of having given way to 
my passion towards you. Yet, I bore many an insult from you before I 
turned to chastise. I offered you the satisfaction of a gentleman, but 
you refused it. Then I insulted you in the public market place. Still 
you were the injured man. 

West. 1 was the injured man. (loftily) Pray, how is it that I am not 
so now 1 

Ley. Your conduct this day to me in the presence of my wife ! If the 
wrong I had done you had been a thousand times what it is, what you 
have done would b" exacting its requital ten-fold ! You refused to meet 
me sword in hand, and waited till you might hold the slave-whip. Vil- 
lain, you have taken the coward's vengeance ! You strike at me through 
my wife's heart! Reptile! you forbore the sting until she was on my 
bosom. (Planters stand back from Westcraft. Wolf enters, r. u. e., 
and comes down r., to stay behind Westcraft) Tiger ! you waited for 
this moment to tear her from me ! (Miss Milburn sobs, clinging to Ley- 
rac Tenderly) What, tears! Don't cry ! Your tears area part of his 
vengeance ! Look up ! (fiercely, as before) Your slave defies yon ! Never 
can you sever what God and man have brought together ! The prison is 
not strong enough to hold me ! the whip is not twisted that can tame 

•Marshal. West. Miss M. Leyrac. 

b. C; c. l. c. 



mo } the laws not made Hint can keep me from her. Now. here she is ! 
on her husband's breast! heart, to heart! part ns — part us, if you daie! 
and, by Heaven! you will do it at the peril of your life ! 

West, (laughs). Ha! my prison will hold you. 

Miss M. (sobbing). No, no ! 

West. My lash will tame you ! But I waste words on you. AVolf ! 

Ley. Try it! 

West. For the last time, will you follow me 1 (Business. Leyeac 
release himself from Miss M. in order to fight with Wolf and other 

ES.) 

Enter, r. u. e., waving letter, David. 

David. Oh, master ! (All fall back from Leyrac) I have found il ! 
(looks around, puzzled) What can have happened! You forget, sir — it is 
the letter that was hidden. 

Ley. No matter! (tries to restore Miss M. tc consciousness out of her 
faint, l.) 

David. But it may be of some importance. Oh ! there is something 
wrong here ! 

Ley. Another time, good David ! I cannot attend to it now. 

David. But it's the Brentwood letter! I iouud it by the instructions 
in the pocket-book of Ruth the quadroon. 

West. What's that about Ruth the quadroon ? If it concerns her son 
I claim an interest in it as his master. L^t ii he taken care of for me. 

David (to Marshal). It is directed to you, sir. 

Mar. (takes letter). To me! Mr. Brent mod's handwriting! Men- 
tion of a duplicate letter addressed (o me— I in ver received any letter — 
could his jealous wife have suppressed ii ? Ah,! (opens letter.) 

West. There now, will you follow n ioWohvanimatedl 

David ("side). I understand now ! he is si si. ve on Ins plantation. Ob ! 

Mar. (aside). A few moments' delay will be a gr;:ce for his } cor wife. 
(reads letter and evinces surprise and joy) What is this I see ! caul 
credit it ' 

West. Come, don't read it to yourself, but end it aloud. 

Mar. You wish me to read it aloud. Ha, ha ! Thanks to your in- 
terference, Mr. Westcraft, I have read this now when I might otherwise 
have deferred it. and repented my delay all the rest of my life. 1 hold 
here in my hand a paper of manumission signed and sealed by Mr. 
Brentwood, in favor of the sen of Ruth. 

West. What's that you say ? (all are amazed.) 

Mar. I congratulate you. Mr. Westcraft. You have bought the Mi- 
chaelmas estate, but you have not bought Maurice de Leyrac. 

West. It's a forgery ! I dispute it ! 

Mar. A man like you always disputes the truth ! (Plaxters/w/i round 
Marshal to examine the papers.) 

West. I'll spend every penny I have to contest it. 

David (l. c). You can't ! for you have spent every penny you have 
to buy my estate. 

Wist. Oh! curse you all! (they laugh at him. He and Wolf and 
several Negroes 170 up and exeunt R. u. E.) 

Miss M. I live again. You are free ! (takes Leyrac's hand, c.) 

Leyrac. No ! (kisses her hand) I am your slave ! (Picture.) 

* Marshal. 

* Leyrac * Miss M. * David. 

CURTAIN. 



34 BLACK AND WHITE. 

SYNOPSIS. 

The wealthy planters in Trinidad are enjoying themselves at a ball. Stephen 
Westcraft, a planter, inquires of his friend, Mrs. Penfold, if she has seen 
Miss Milburn, and intimates his opinion "that there is another man at the 
bottom of it." Mrs. P. admits, to herself, that there is "something strange 
about Emily's absence." Westcraft has retired, and Miss Emily Mileurn 
criers, jaded and careworn. Mrs. P. rallies her upon her lack of spirits at her 
birthday the. Miss M. wearily rejoins, "I wish I had never had one." At 
length, after some questioning by Mrs. P., the young lady says that she would 
like to go back to Paris. Then she admits that she had met with a "French gen- 
tleman of high rank, moving in the same circles as myself. I met him every- 
where— it was Fate ! " Mrs. P. responds, "so you entirely forgot Mr. West- 
craft f" Miss M. goes on to tell how she remembered her engagement to Mr. 
\V.. and had returned to keep her word. She tells, however, that the French 
gentleman had remarked that he would like to see her again, and she had in- 
vited him to be present at her fete day. He had taken the date, and other 
particulars, and saicl, in a business like manner, that he would be presenton my 
birthday file, on this New Year's Day. While West, is running about the 
rooms seeking Miss M. a servant enters, and announces the Count ue Letrac. 
He soon singles out Miss M., salutes her, and she takes his hand. West, in- 
trudes on their e mversation, but receives some cutting repartees from Ley., 
and gets very angry at both him and Miss M. Leyrac and Miss M. being left 
together, they grow very loving and confiding, when David Michaelmas enters. 
Miss M. recognizes him as the man who attended upon Ley., in Paris, and gives 
him a genial welcome, and expresses her surprise that she should be welcomed 
by the man who once owned the "Michaelmas estates." David tells Let. that 
a quadroon woman wants to see him, and quietly intimates that it is on an im- 
portant matter. Miss M. partly overhears, and thinks it strange that her lover 
has been on the island but a few hours and already lias a lady after him. Ley. 
goes to keep appointment, and Miss M., throwing a scarf about her person, fol- 
lows to learn the meaning of it all. A very amusing scene ensues, in which 
David meets Plato, a shrewd, conceited, consequential darkey, lie is a " king 
pin " among his fellows, anil likes David, because, in the bygone times, he was 
always easy with the " niegahs." Ley. comes on ami is introduced with all the 
formalities to Plato, who then leads him to the hut of Ruth, the quadroon. 
Meanwhile West, is tracking Miss M.. who has followed Lex. The n" xt 
is one of startling effect, for Ley. learns that Ruth, once a lovely slave girl, is 
his mother I She is folded to the young gentleman's heart, and tells how be 
lias been deprived of property left him by his father, and also of the deed of 
manumission which would have made him free — for lie was born a slave! Miss 
M. learns this much from her place of hiding. Rutu gives Ley. a clue to the 
discovery of the papers. WEST, has also learned that Ley. is legally a slave. 

In act second Let. calls to see Miss M., and an affecting scene takes place. 
The young lady Struggles between her love and the inherited antipathy she- 
feels for a slave. "Oh! the shame of it!" she sobbingly exclaims. West. 
enters, and brutally orders Ley. to leave the house. Ley. tells him to take his 
hat off in a lady's house, and as be fails to obey, the youth strikes it off with 
his cane. West, offers to draw bowies, but Ley. cows him with a look. In the 
next scene, Ley. takes counsel with David, and the latter tells him that lie 
will go at once and hunt for the missing papers. Wolf, a slave, comes in, and 
gives Ley. an insolent message from bis master West. The next scene shows 
an open market, which can be made more or less realistic, as the stage admits 
of it. Many of the characters are in here, and David and Plato go off to try 
to find Will, etc., and a very amusing lot of adventures they encounter. West. 
claims Ley. as his slave in the market place, and orders Wolf to tie him up 
and Hog him. Miss M. rushes in, and throws herself between Wolf and Ley. 
W t est. tells her " he is a slave!" "1 love him!" she exclaims, and the cuttain 
descends on a splendid tableau. 

In act three, Ley. is in jail, the Marshal tells him that he is obliged to take 
bin! to the block to sell him. It is suggested that he need not convict himself 
of being a slave — but he says if the question is plainly put to him, he will not 
deny that he is the son of Ruth, the quadroon. The closing scenes are highly 
effective ; showing the successful hunt of David, the ballling of the vindictive 
West., the pr, claimed freedom of Ley., and his union with Miss M. 



— -*^ -^•^5^s»' ^^~ 



Kg 1 Hease notice that nearly all the Comedies, Farces and Comediettas in the following 
t/ibt of " Dk Witt's Acting Plays " are very suitable for representation in small Amateur 
theatres and on Parlor Stages, as they need but little extrinsic aid from complex scenery 
or expensive costumes. They have attained their deserved popularity by their droll situa- 
lk.ns, excellent plots, great humor and brilliant dialogues, no less than by the fact that 
they are the most perfect in every respect of any edition of plays ever published cither in 
4ht United States or Europe, whether as regards purity of text, accuracy and fullness of 
stay j directions and scenery, or elegance of typography and clearness of printing. 

•*„* In ordering pleaso r.opy the figures at the commencement of each piece, which 
Lull :ate the number of the piece in " Be Witt's List of Acting Plays." 

jS®- Any of the following Plays sent, postage free, on receipt of price— Fifteen Cents 
each. 

.ftST The figure following the name of the Play denotes the number of Acts. The 
jgurej in th» columns indicate the number of characters— M. male; P. female. 



M. F. 

75. Afrleune, dram*, ? acts 7 3 

231. Ail that Gluten n not Gold, comic 

drama, 2 uc's 6 3 

108, All on Account of a Bracelet, come- 
dietta, 1 act 2 2 

114. Anything for a Change, comedy.l act 3 3 

167. Apple Blossoms, comedy, 3 acts. .. 7 3 

93. Area Belle, farce, 1 act. 3 2 

). Ati hi. comedietta, 1 act 3 2 

89. Auat Charlotte's Maid, farce, 1 act. 3 3 
$58. Aunt Dinah's Pledge, temperance 

d rama, 2 acts 6 3 

IS7. Bachelor's Box (La Petite Hotel), 

comedietta, 1 act 4 1 

lt>fi. Bardell vs. Pickwick, sketch, 1 act. 6 2 

310. Barrack Boom (The), comedietta,2a. 6 2 

41. Beautiful Forever, farce, 1 act 2 2 

.141. Bells (The), drama. 3 acts 9 3 

|23. Betsey Baliar, farce, 1 act 2 2 

'""■7. Birthplace of Podgers, farce, 1 act.. 7 3 

,fi. [Hack Sin ep, drama, 3 acts 7 5 

/19. Black-Eyed Susan, drama. 2 acts. ..14 2 

?96. Black ;vml White, drama, 3 acts 6 3 

IGO. Blow for Blow, drama, 4 acta 11 6 

179. Breach of Promise, drama, 2 acts. . 5 2 

25. Broken-Hearted Club, comedietta.. 4 8 

70. Bonnie Fish Wife, farce, 1 act 3 1 

261. Bottle (The), drama, 2 acts 11 6 

226. Box and Cox, Romance^ act 2 1 

24. Cabman No. 93, farce, 1 act 2 2 

199. Captain of the Watch, comedietta, 

1 act 6 2 

1. Caste, comedy, 3 acts 5 3 

175, Cast upon the World, drama, 5 acts.ll 5 
65. Catharine Howard, historical play, 

3 acts 12 5 

6C. Caught by the Cuff, farce, 1 act. ... 4 1 

80. Charming Pair, farce, 1 act 4 3 

65. Checkmate, comedy, 2 acts 6 5 

68. Chevalier dc St. George, drama, 3a. 9 3 
219. Chimney Corner (Tiie), domestic 

drama, 3 acts 5 2 

76. Chops of the Channel, farce, 1 act.. 3 2 
205. Circumstances alter Cases, comic 

opi :■ t :.-,',. i act , 1 1 

1*9. Clonds comedy, 4 acts 8 7 

121. Comicxl Countess, farce, 1 act 3 1 



M. F. 

222. Cool as a Cucumber, farce, 1 act.. . . 3 2 

248. Cricket on the Hearth, drama, 3 acts 8 6 

107. Cupboard Love, farce, 1 act 2 1 

152. Cupid's Eye-Glass, comedy, 1 act.. 1 1 

52. Cup of Tea. comedietta, 1 act 3 I 

148. Cut Off with a Shilling, comedietta, 

1 act 2 1 

113. Cyril's Success, comedy. 5 acts 10 4 

20. Daddy Gray, drama, 3 acts 8 4 

2s0. Daisy Farm, drama, 4 acts 10 • 

4. Dandelion's Dodges, farce, 1 act... 4 !<i 

22. David Garrick, comedy, 3 acts 8 8 

275. Day After the Wedding, farce, 1 act 4 2 

9(>. Dearest Minima, comedietta, 1 act.. 4 3 

10. Dearer than Life, drama, 3 acts.... 6 5 

58. Deborah (Leah), drama, 3 acts 7 6 

125. Deerfoot, farce, 1 act 5 1 

71. Doing for the Best, drama, 2 acts.. 5 3 

142. Dollars and Cents, comedy, 3 acts. . 9 4 

204. Drawing Boom Chr(A). comedy, 1 act 2 7 

21. Dreams, d-vama, 5 acts.. G 3 

200. Drunkard's Warning, drama, 3 acts 6 3 

210. Drunkard's Doom (The), drama, 2a.l5 5 

203. Drunkard (The), drama, 5 acts 13 5 

18(3. Duchess de la Vallier%play, 5 acts.. 6 4 

242. Dumb Belle (The), farce, 1 act 4 2 

47. Easy Shaving, farce, 1 act 5 2 

2S3. E. C. B. Susan Jane, musical bur- 
lesque, 1 act 8 1 

202. Eileen Oge, Irish drama, 4 acts 11 3 

315. Electric Love, farce, 1 act 1 1 

297. English Gentleman (An), comedy- 
drama, 4 acts 7 4 

200. Estranged, operetta. 1 act 2 1 

135. Everybody's Friend, comedy. 3 acts 6 S 

230. Family Jars, musical farce. 2 acts.. 5 2 

103. Faust and Marguerite, drama, 3 acts 9 ? 
9. Fearful Tragedy in the Seven Dials, 

interlude, 1 act 4 T 

12S. Female Detective, drama, 3 acts 11 4 

101. Fernande, drama, 3 acts 1.1 16 

99. Fifth Wheel, comedy, 3 acts ;0 % 

252. Fifteen Years of a Drunkard's Life, 

melodrama, 3 acts 13 4 

145. First Love, comedy, 1 act . . 4 ; 

102. Foiled, drama. 4 acts 9 1 

88. Founded on Facts, farce, 1 act i l 



DL WITT'S ACTING PLxlYS -Continued, 



ess. 

192. 
71. 
53. 
73. 
30. 

131. 

276. 
300. 
277. 

206. 
241. 

28. 
151. 
8. 
180. 
•03. 

.19. 

60. 
191. 
J40. 
301. 
224. 
Is7. 
174. 
211. 

64. 
190. 
197. 
225. 
%■!. 

18. 
116. 
129. 
159. 
11*. 
»2. 

W3. 
443. 

m. 

m. 

10. 

574. 
122. 

177. 
100. 
>99. 
[39. 

17. 
533. 
309. 

86. 
137. 

72. 
144. 

34. 
180. 
253. 
111. 
119. 
239. 

48. 

32. 
364. 
205. 
165. 



M. F. 

FruUs of tbe Wine Cup, drama, 3 eta 6 3 

Game of Cards (A), comedietta, la.. 3 1 

Ganick Fever, farce, 1 act 7 4 

Gertrude's Money Box, farce, 1 act. 4 2 

Gok'eu Fetters (Fetter«d),drama, 3.11 4 
Goos3 with the Golden Eggs, farce, 

j, ai? j 5 3 

G( to Putney, farce, 1 act 4 3 

Good mr Nothing, comic drama, la. o 1 

Great Success (A), comedy, 3 acts.. 8 5 
Grimshaw, Bagshaw and Bradshaw, 

farce, I act • • • 4 2 

Heir Apparent (The), farce, 1 act.. . 5 1 

Haudy Audy, drama, 2 acts 10 3 

Happy Pair, comedietta, 1 act 1 1 

Hard Case (A), farce, 1 act 2 

Henry Duubar, drama, 4 act8 10 3 

Henry the Fifth, hist, play, 5 acts. .38 5 

Her Only Fault, comedietta, 1 act. . 2 2 

He'd a Lunatic, farce. 1 act 3 2 

Hidden Hand, drama, 4 acts 5 5 

High O, comedietta, 1 act 3 3 

High Life Below Stairs, farce.2 acts. 9 5 

Hinko, romantic drama, 6 acts 12 7 

His Last Legs, farce, 2 acts 5 3 

His Own Enemy, farce, 1 act 5 1 

Home, comedy. 3 acts 4 3 

Honesty is the Best Policy, play, 1. 2 

household Fairy, sketch., 1 act 1 1 

Hunting the Slippers, farce, lact.. 4 1 

Hunchback (The), play, 5 acts 13 2 

Ici on Parle Francais, farce, 1 act... 3 4 

Idiot Witness, melodrama, 3 acts. . . 6 1 

If I had a Thousand a Year, farce. 14 3 

I'm not Mesilf at all, Irish stew, la. 3 2 

In for a Holiday, farce, 1 act 2 3 

In the Wrong House, farce, 1 act... 4 2 

Irish Attorney (The), force, 2 acts.. 8 2 

Irish Broom Maker, farce. 1 act. ... 9 3 

Irishman in Loudon, farce, 1 acts.. 6 3 

Irish Lion (The), farce, 1 act. 8 3 

Irish Post (The), drama. 1 act 9 3 

Irish Tutor (The), farce, 1 act 5 2 

Irish Tiger (The), farce, 1 act 5 1 

Irish Widow (The), farce, 2 acts 7 1 

Isabella Orsiui, drama, 4 acts 11 4 

I Shall Invite the Major, comedy, 14 1 

Jack Long, drama, 2 acta 9 2 

Joan of Arc, hist, play, 5 acts 26 6 

Joy is Dangerous, comedy, 2 acts.. 3 3 

Kind to a Fault, comedy, 2 acts. ... 6 4 

Kiss in the Dark (A), farce, 1 act 2 3 

Ladies' Battle (The), comedy, 3 acts 7 2 

Lady of Lyons, play, 5 acts 12 5 

L'Article 47, drama, 3 acts 11 5 

Lame Excuse, farce, 1 act 4 2 

Lancashire Lass, melodrama. 4 acts. 12 3 ■ 

Lai-kins' Love Letters, farce, 1 act.. 3 2( 

Leap Year, musical duality, lact....l li 

Lend Me Five Shillings, farce, 1 act 5 3 

Liar (The), comedy, 2 acts 7 2 

Life Chase, drama, 5 acts 14 5 

Limerick Bov (The), farce, 1 act. ... 5 2 

Little Annie's Birthday, farce, 1 act. .2 4 

Little Bebel, farce, 1 act 4 3 

Little Ruby, drama. 3 acts 6 6 

Little Em'iv, drama, 4 acts 8 8 

Living Statue (The,, farce. 1 act 3 2 

|,oan "i a Lover'Th - pv.ideville.l. 4 1 



109. 

85. 

87. 
143. 
212. 
291. 
210. 
103. 
154. 

63. 
249. 
208 

39 
7 

49 

15 

46 

51 
31(2 
Isl. 
250. 
312. 

234. 
108. 

188. 
169. 
216. 
236. 
193. 

267. 
130. 
92. 

2 is. 
140. 

115. 

2. 

57. 

lot. 

112. 

298. 

185. 

84. 

117. 

171. 

14. 
300. 
269. 
268. 
173. 
227. 
1V6. 
2i54. 

•<3. 
%. 

40. 
170. 
289. 

97. 

66. 
009. 
172. 

94. 

45. 
155. 
178. 



Locked in, comedietta, 1 act 1 2 

Locked in with a Lady, sketch 1 I 

Locked Out, comic scene 1 1 

Lodgers and Dodgers, farce, 1 act. . 4 2 

London Assurance, comedy, 5 acts. 10 3 

M. P.. comedy, 4 acts 7 2 

Mabel's Manoeuvre, interlude, 1 act 1 3 

Marcoretti, drama, 3 acts 10 3 

Maria and Magdaleua, play, 4 acts.. 8 6 

Marriage at any Price, farce, 1 act. . 5 3 

Marriage a Lottery, comedy, 2 acts. 3 4 

Married Bachelors, comedietta, la.. 3 2 

Master Jones' Birthday, farce, 1 act 4 2 

Maud's Peril, drama, 4 acts 5 S 

Midnight Watch, drama, 1 act 8 2 

Milky White, drama, 2 acts 4 2 

Miriam's Crime, drama, 3 acts 5 2 

Model of a Wife, larce, 1 act 3 2 

Model Pp.ir (A), comedy, 1 act 2 2 

Money, comedy, 5 acts 17 3 

More Blunders than One, farce, la. 4 
Wore Sinned against than Sinning, 

original Iri r 'i drama. 4 acts 11 

Morning Call (A), comedietta, 1 act. 1 ? 

Mr. Scroggins. larce, 1 act 3 ', 

Ml X., farce, 1 act 3 3 

My Uncle's Suit, farce. 1 act 4 1 

Mj Neighbor's Wife, farce, 1 act 3 8 

My Turn Next, farce, 1 act 4 3 

MJ Walking Photograph, musical 

duality, 1 act 1 1 

Mi Wife's Bonnet, force. 1 act 3 1 

Mj Wife's Diary, farce, 1 act 3 J 

51; Wi'e's Out, farce. ] act. 2 

Naral Engagements, farce, 2 acts. .. 4 .. 
Never Beckon your Chickens, etc., 

far -e. 1 act 3 i 

New Mel and Old Acres, comedy, 38 I 

Nobo ly's Child, drama, 3 acts 13 3 

Norm e. d •ania. 2 acts 4 4 

No Name, drama. 5 acts 7 6 

Not a bit ioaloiiR, farce, 1 act 3 3 

Not if I Know it, farce, 1 act 4 4 

Not so bad ai we Seem, play, 5 acts.13 3 

Not Guilty drama, 4 acts HI I. 

Not such a Fool as he Looks, drama. 

3 acts . 5 * 

Nothing l ; lre Pp,r*e. farce. 1 act. ... 3 1 

N< i Thoroughfare, drama, 5 acts 13 6 

Notre Dame, drama. 3 acts 11 8 

Object of Interest (An), larce, 1 act. 4 3 

Obstinate Family (Vbe). farce, 1 act. 3 3 

Off the Stage, cornerMetta, lact — $ 3 

Omnibus (The), farce. 1 act. ... . . . .1 4 

On Bread and Water, farce, 1 act. .. 1 2 

One Too Many, fa-ce. 7 act 4 2 

One Too Many for Him larce, 1 act S 3 

£100,000, comedy, 3 ictt 8 4 

Only a Halfpenny, farce, 1 act 2 2 

Only Somebody, farce, J art 4 2 

On the Jury, drama, 4 acts. 5 6 

Orange Blossoms, comedtetf*. 1 act 3 3 

Orange Girl, drama, 4 acts 18 4 

Othello, tragedy. 5 acts 10 2 

< )urs. comedy. 3 acts 6 3 

Our Clerks, farce, 1 act ') »' 

Our Domestics, comedy-farce ri'.'s (i 6 

Our Heroes, military play, Pacts .21 5 

Out at Sea, drama, 5 acts .,57 5 



DE WITT'S ETHIOPIAN AND COMIC DRAMA.— Continued. 



M. F. 

33. Jealous Husband, sketch 2 1 

94. Julius the Suoozur. burlesque. 3 sc. 6 1 
103. Katnna's Little Game, Dutch act, 

1 sceue - 1 1 

1. ~La.st "f the Mohicaus, .-ketch 3 1 

36. Laughing Ga»s, sketch, 1 scene 6 1 

18. Lb tcli, 4 scenes 4 1 

60. Lost Will, sketch 4 

37. Lucky J< >b, farce, 2 scenes 3 2 

90. Lui fare . 1 scene 3 

109. Making a Hit, farce, 2 scenes 4 

19 }[:, js, sketch, 1 scene. 3 

149. 'Meriky, Ethiopian farce, 1 scene... 3 1 
151. Mi ky Free, Irish sketch, 1 scene.. 5 
96. Midnight Intruder, farce. 1 scene . 6 1 
147. Milliner's Shop (The), Ethiopian 

sketch, 1 sceue 2 2 

129. Moko Marionettes, Ethiopian eccen- 
tricity, 2 scenes i 5 

101. M Jly ' Moriarty, Irish musical 

sketch, 1 scene 1 1 

117. Motor Bellows, comedy. 1 act 4 

44. Musical Servant, sketch. 1 scene 3 

8. Mutton Trial, sketch, 2 scenes .... 4 
119. MyWife'sVisitors, comic drama,lsc. 6 1 

49. Night in a Strange Hotel, sketch, lsc. 2 
132. Noble Savage, Ethi'n sketch, 1 sc... 4 
145. No Pay No Cure, Ethi'n sketch, 1 sc. 5 

22. Obeying Orders, sketch, 1 scene 2 1 

ii Night of Hamlet, sketch 7 1 

125. Oh, Hush ! operatic olio 4 1 

30. One Night in a Bar Room, sketch.. 7 

114. Oue Night iu a Medical College, 

Ethiopian sketch, 1 scene 7 1 

76. One, Two. Three, sketch, 1 scene.. 7 

91. Paiuter's Apprentice, farce, 1 scene. 5 
87. Pete and the Peddler, Negro and 

Irish sketch, 1 scene 2 1 

135. Pleasant Companions, Ethiopiaa 

sketch, 1 scene 5 1 

92. Polar Bear (The), farce, 1 scene. ... 4 1 

9. Policy Players, sketch, 1 scene 7 

57. Pompey's Patients, interlude. 2 sc, 6 

65. Porter's Troubles, sketch. 1 scene.. 6 1 

66. Port Wine vs. Jealousy, sketch 2 1 

115. Private Boarding, comedy, 1 scene. 2 3 
14. Recruiting Office, sketch. 1 act 5 

105. Rehearsal (TheK Irish farce. 2 sc. . . 3 1 

45. Remittance from Home.sketch. 1 sc. 6 
55. Rigging a Purchase, sketch, 1 sc. . . 3 



M. F. 

81. Rival Artists, sketch. 1 scene 4 

26. Rival Tenants, sketch 4 

138. Rival Barbers' Snops (The). Ethio- 
pian farce, 1 scene 6 1 

15. Sam's Courtship, larce, 1 act 2 1 

59. Sausage Makers, sketch. 2 scenes.. 5 1 

21. Scampini, pantomime, 2 scenes.... 3 3 
80. Scenes on the Mississippi, sketch, 

2 scenes 6 

84. Serenade (The), sketch. 2 scenes 7 

'.mese Twins, sketch. 2 scenes 5 

",i. Sleep Walker, sketch, J scenes 3 

46. Slippery Day, sketch, 1 scene 6 1 

69. Squire lor a Day, sketch 5 1 

56. Stage-struck Couple, interlude, 1 sc. 2 1 

72. Mrauger. burlesque. 1 scene 1 2 

13. Streets of New York, sketch. 1 sc. . . 6 » 

16. storming the Fort, sketch. 1 scene. 5 

1. Stupid Servant, sketch. 1 scene. ... 2 

121. Stocks Up! Stocks Down! Negro 

duologue, 1 scene 2 

47. Take It, Don't Take It. sketch, 1 sc. 2 
54. Them Papers, sketch, 1 scene 3 

100. Three Chiefs (The), sketch. 1 scene. 6 

102. Three A. M., sketch. 2 scenes 3 1 

34. Three Strings to one Bow, sketch, 

1 scene ... 4 1 

122. Ticket Taker. Ethi'n farce, 1 scene. 3 

2. Tricks, sketch 5 2 

104. Two Awfuls (The;, sketch, 1 scene.. 5 

5. Two Black Roses, sketch 4 ] 

28. Uncle Eph's Dream, sketch, 2 sc. . . 3 1 
131. Unlimited Cheek, sketch. 1 scene. . 4 1 

62. Vinegar Bitters, sketch, 1 scene 6 1 

32. Wake up. William Henry, sketch. . . 3 

39. Wanted, a Nurse, sketch, 1 scene... i 
75. Weston, the Walkist, Dutch sketch, 

1 scene 7 1 

93. What shall I Take? sketch. 1 sceue. 7 1 

29. Who Died First ? sketch. 1 sceue. ..31 
97. Who's the Acjgr? farce, 1 scene 4 

137. Whose Baby is it ? Ethiopian sketch, 

1 scene 2 1 

143. Wonderful Telephone (The), Ethio- 
pian sketch, 1 scene i 1 

99. Wrong Woman in the Right Place, 

sketch. 2 scenes 2 2 

85. Young Scamp, sketch. 1 scene.. 3 

116. Zacharias' Funeral, farce, 1 scene. . 5 



A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACT. 
INQ PLAYS AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, 
j containing Plot, Costume, Scenery. Time of Representation, and all other informa- 
tion, mailed free and post paid on application. Address 



DE WITT, Publisher, 

33 Rose Street, New York. 



All Mispnsalilfl Book for Amateurs. 

HOW TO MAHAEE 
AMATEUE THEATRICALS, 



Being plain instructions for construction and arrangement of Stage, 
making Scenery, getting up Costumes, "Making Up" to represent 
differc.it ages and characters, and how to produce stage Illusions and 
Also hints for the management of Amateur Dramatic Clubs, 
and a list of pieces suitable for Drawing Room Performances. Hand- 
somely illustrated with Colored Plates. 

Price, 25 Cents. 



DE WITT'S SELECTIONS 

AMATEUR AND PARLOR THEATRICALS. 

^Nos. 1, 2,3,4 6c 5. 

Being choice selections from the very best Dramas, Comedies and 
Farces. Specially adapted for presentation by Amateurs, and for 
Parlor and Drawing Room Entertainments. 

Each number, 25 Cents. 

PANTOMIME PLAY , 

"HUMPTY DUMPTY." 

The celebrated Pantomime, as originally played for 1,000 nights by the 
late George L. Fox. Arranged by 'John Denier, Esq. Eight male, 
four female characters. 

Price, 25 Cents. 






LIBRARY OF CONGRESS 



DDD2bSbH5E^ 



